HAND-LOOM 

WEAVING 

A  MANUAL 


From  Applied  Arts  Drawings  Books  by  Wilhclmina  Seefrmiller. 
Courtesy  of  Atkinson,  Mentzer  &  Co. 

Rugs  showing  harmony  of  color  in  weaving 


HAND-LOOM 
WEAVING 


for   grchool    <*nfc 


MATTIE  PHIPPS  TODD 

Horace  Mann  School,  Minneapolis,  Minn. 

• 

With  an  Introduction  by 

ALICE  W.  COOLEY 

Formerly  Supervisor  of  Primary  Schools,  Minneapolis,  Minn. 


EDUCATIONAL  PUBLISHERS 
Chicago  New  York  London 


Copyright,  1902, 

BY  MATTIE  PHIPPS  TODD 

Revised,  IQI4 


THE  TABLE  OF  CONTENTS 


THE   TABLE   OF   CONTENTS 

PAGE 

An  Introduction. 
Chapter  One. 

By  Alice  W.  Cooley      .     .     . 
Primitive  and  Modern  Looms 

7 
13 

The 
Table  of 
Contents 

Chapter  Two, 

A  Chat  on  Weaving   .     .     . 

22    - 

Chapter  Three. 

First  Steps  in  Weaving  .     . 

30» 

Chapter  Four. 

Methods  of  Stringing  Warp    . 

42   . 

Chapter  Five. 

Materials  

48     • 

Chapter  Six. 

Directions  for  Dyeing     .     .     . 

54 

Chapter  Seven. 

Methods  of  Splicing  Materials 

for  Weaving      

79 

Chapter  Eight. 

Rug  and  Mat  Weaving  .     .     . 

82  . 

Chapter  Nine. 

Hammocks    

93 

Chapter  Ten. 

Raffia  Mats  

102 

Chapter  Eleven. 

Miscellaneous  Weaving 

106  • 

Chapter  Twelve. 

Oriental  Rugs  ...... 

1191 

Chapter  Thirteen. 

Navajo  Blankets    

133 

Chapter  Fourteen. 

Songs,  Games,  and  Stories     . 

141 

Chapter  Fifteen. 

A  List  of  Helpful  Books  and 

The  Index     .     ,     . 

Magazine  Articles      .     .     . 

151 
159 

— 

304753 


<*tm 
txx 

thin0 


[6] 


AN  INTRODUCTION; 


AN  INTRODUCTION 


many  years  we,  the  teachers  of  the 
United  States  assembled  in  village,  city, 
State,  and  national  conventions,  have  recited 
our  creed  and  chanted  it  in  all  keys. 

We  believe  that  man  is  a  trinity,  three 
in  one  —  head,  heart,  and  hand,  one  soul 
made  manifest;  we  believe  that  this  union 
is  vital  and  indissoluble,  since  "  what  God 
hath  joined  together"  may  not  be  rent  asun- 
der; we  believe  that  this  three-fold  man, 
being  "put  to  school"  on  earth  to  grow, 
may  devise  and  bring  to  successful  issue 
no  scheme  of  education  that  is  out  of  har- 
mony with  the  plan  of  the  Creator. 

Congratulating  ourselves  upon  our  ready 
and  distinct  utterance  of  this  lofty  thought, 
we  have  calmly  returned  to  our  man-devised 
book-schools  for  the  acquisition  of  knowl- 
edge, in  order  to  forward  some  plan  for  the 
accumulation  of  more  knowledge. 

But  "  wisdom  lingered  "  !  Here  and  there 
voices  were  raised  that  would  not  be  silenced: 
"  You  sang  your  beautiful  song ;  what  are  you 
going  to  do  about  it  ?  "  In  the  words  of  John 


HAND-LOOM  WEA  VING 


Stuart  Mill,  "  It  is  now  time  to  assert  in 
deeds,  since  the  power  of  words  is  well-nigh 
exhausted." 

Investigators,  studying  this  union  of  head 
and  hand  from  the  physiological  side,  hurled 
truths  at  us  that  startled  us  from  our  lethargy. 

Every  stimulus  poured  into  nerve  cells 
through  the  avenues  of  the  senses  tends  to 
pass  out  in  motor  action,  which  causes  mus- 
cular movement.  In  every  idea  are  vitally 
united  the  impression  and  the  tendency  to 
expression  in  action.  The  nervous  system 
consists  of  the  fibres  which  carry  currents 
inward,  the  organs  of  central  redirection, 
and  the  fibres  which  carry  them  outward— 
sensation,  direction,  action.  Since  control 
means  mental  direction  of  this  involuntary 
discharge  of  energy  (directed  muscular 
movement),  control  of  the  muscles  means 
development  of  will  as  well  as  of  skill.  To 
prevent  or  cut  off  the  natural  outflow  of  nerv- 
ous energy  results  in  fatigue  and  diseased 
nerves.  Unrestrained  and.  uncontrolled  ex- 
penditure of  nervous  energy  results  in  law- 
lessness and  weakened  will. 

Men  of  science  said :  "  These  are  facts 
about  man.  What  account  have  you  made 
of  them  in  your  elaborate  system  for  edu- 
cating him?" 


AN  INTRODUCTION 


Students  of  sociological  and  economic 
problems  called  out  to  us  as  the  teachers  of 
men : 

These  great  problems  concerning  the 
relation  of  labor  and  capital  (the  brother- 
hood of  man)  will  never  be  solved  until  there 
is  greater  respect  for  labor ;  greater  appreci- 
ation of  the  value  of  the  products  of  labor; 
until  there  is  more  joy  to  the  worker  in 
his  labor,  which  should  be  the  expression 
through  his  hand,  of  the  thought  of  his  head, 
and  the  feeling  of  his  heart;  until  labor  is 
seen  in  its  true  light,  as  service;  until  the 
man  with  money  as  well  as  the  man  without 
learns  through  experience  to  respect  and 
appreciate  labor  and  its  products.  "  We 
absorb  only  so  much  as  we  can  interpret  in 
terms  of  our  own  active  experience." 

What  contributions  are  our  schools  mak- 
ing to  the  bettering  of  social  and  industrial 
conditions? 

Philosopher  and  poet  —  thinker  and  seer 
—  send  their  message : 

"That  life  is  wisest  spent 
Where  the  strong,  working  hand 
Makes  strong  the  working  brain." 

To  create,  to  make  something,  is  the 
instinct  of  divinity  in  humanity,  the  power 
that  crowns  man  as  divine. 


TO 


HAND-LOOM  WE  A  VING 


The  will 
to  do 


Systematic 

hand- 

training 

the  work 

of  to-day 


"It  is  his  impulse  to  create 
Should  gladden  thee." 

The  practical  business  man  thunders  his 
protest  at  us  against  the  inefficiency  of  the 
man  with  only  the  knowledge-stored  brain. 
He  says .  We  must  have  men  that  can  will 
to  do,  and  then  do  something,  not  merely  men 
that  can  think  of  things  "  'twere  good  to  do." 
Our  public  schools  must  train  men  and 
women  to  go  out  and  take  their  place  with 
the  workers  of  the  world,  to  do  something 
well  and  effectively. 

At  last  we  are  awake,  and  throughout  the 
country  we  are  trying  to  heed  these  calls, 
and  to  revive  our  own  weakened  thought  by 
action,  singing  our  creed  in  deeds.  Upon 
the  foundations  laid  by  Friedrich  Froebel 
and  his  students  in  the  kindergarten,  we  are 
trying  to  build  up  a  course  in  systematic 
hand-training,  through  the  primary,  to  inter- 
mediate and  grammar  grades,  and  thence  to 
manual  training  in  the  high  schools.  What 
to  do  and  how  to  do  it  has  now  become  the 
practical  problem  of  the  day.  Everywhere 
the  wide-awake  primary  teacher  is  sharing 
her  thought  and  experience  with  her  co- 
workers. 

For  little  children,  the  what  must  utilize 
material  suitable  for  little  fingers,  and  tools 


AN  INTRODUCTION 


II 


must  be  large.  The  finished  product  should 
belong  to  the  maker,  or  be  made  by  him  as  a 
service  rendered  to  others ;  the  result  should 
also  be  worthy  of  keeping  or  giving,  from 
the  view-points  of  both  beauty  and  utility. 

Another  important  factor  is  the  adap- 
tation to  present  public-schoolroom  condi- 
tions, and  to  present  public-school  treasury 
conditions. 

More  thoughtful  study  has  led  to  the 
abandonment  of  the  old-time  sewing  and 
fine  handwork  in  kindergarten  and  primary 
school.  In  its  place  we  find  the  weaving  of 
useful  and  beautiful  articles,  out  of  various 
available  materials,  and  with  simple,  primi- 
tive tools  —  allowing  always  for  much  and 
varied  use  of  the  great  tools,  the  fingers. 

It  is  interesting  to  note  that  teachers 
in  all  parts  of  the  country,  working  inde- 
pendently of  each  other,  have  come  to  prac- 
tically the  same  conclusions,  viz.,  that  under 
present  conditions,  weaving  seems  the  best 
basis  for  a  systematic  course  in  industrial 
work  that  shall  train  head  and  heart  as  well 
as  hand.  It  is  also  of  great  interest  to 
remember  that  the  signboards  along  the 
pathway  of  race  development,  by  means  of 
work,  exchange  of  labor  and  its  products,  all 
point  to  this  idea  as  the  entering  gateway. 


12 


HAND-LOOM  WEAVING 


This 

mamial 

the  result 

of  study 

and 

experience 


Weaving  is  the  first  industry  of  all  primitive 
peoples. 

Being  practically  agreed  as  to  what  shall 
be  the  first  industrial  work  in  the  primary 
school,  the  next  great  question  is  the  how. 
With  large  numbers  of  little  children  in  her 
own  schoolroom,  the  author  of  this  manual 
has  long  sought  a  satisfactory  answer.  Be- 
lieving that  the  results  of  her  study  and 
experience  will  be  helpful  to  others  in  sug- 
gesting possibilities,  and  in  stimulating 
thought,  as  well  as  in  practical  teaching  and 
time-saving,  she  sends  forth  this  little  book 
with  the  earnest  hope  that  it  may  in  these 
ways  be  of  real  service. 

ALICE  W.  COOLEY. 

AugUSt  /,  IQ02. 

NOTE  TO  EDITION  OF  1914 
When  "Hand-Loom  Weaving"  was  writ- 
ten in  1902,  the  work  was  in  its  pioneer 
stage.  Eleven  years  of  experience  have  led 
not  only  into  new  paths,  but  into  better 
ways  of  treading  the  old  ones.  In  this  edi- 
tion will  be  found  many  new  suggestions 
in  presenting  weaving  to  the  little  indus- 
trial workers  of  the  world,  whether  in  school 
or  at  home.  M.  P.  T. 

January, 


PRIMITIVE  AND  MODERN  LOOMS 


HAND-LOOM  WEAVING 


PRIMITIVE  AND  MODERN  LOOMS 

AXTEAVING,  the  oldest  of  the  industrial 
arts,  dates  back  so  far  that  no  one 
can  say  when  or  where  it  had  its  beginning. 
We  read  in  Genesis  iii,  21,  that  when  Adam 
was  driven  from  the  Garden  of  Eden  he 
wore  a  coat  of  skin  ;  but,  not  long-  after, 
according  to  Professor  Hurwitz,  the  descend- 
ants of  Adam  wore  an  upper  garment  called 
the  simla,  which  consisted  of  a  piece  of  cloth 
about  six  yards  long  and  two  or  three  wide, 
greatly  resembling  a  blanket  (Ashcnhursf). 
This  might  have  been  woven  from  vegetable 
fibres,  perhaps  from  wool,  but  in  what  man- 
ner we  do  not  know.  The  warp  and  woof  of 
linen  and  woolen  garments  is  mentioned  in 
Leviticus  xiii,  47,  48. 

Spinning  and  weaving  have  been  prac- 
tised by  the  Chinese,  Hindoos,  and  Egyptians 
for  thousands  of  years  and  carried  by  them 
to  great  proficiency.  The  Israelites  were 
probably  familiar  with  the  art  of  weaving 


H AMD-LOOM  WEA  VING 


Migration 

of 
weaving 


Weaving 
as 

Hie  first 

industrial 

art 


Egyptian 
loom 


before  their  sojourn  in  Egypt,  but  it  was 
there  that  they  attained  the  skill  which  en- 
abled them  to  execute  the  hangings  in  the 
Tabernacle.  Joseph's  "coat  of  many  colors"  , 
is  a  proof  that  dyeing  existed  at  a  very  early 
period,  and  the  eloquent  writings  of  Ezekiel 
tell  us  of  the  beautiful  colored  cloths  of  Tyre 
and  Damascus. 

From  the  ancient  world  the  art  of  weav- 
ing passed  through  Europe  and  became 
known  in  England  after  the  Roman  con- 
quest. No  doubt  primitive  weaving,  with 
vegetable  fibres,  and  perhaps  with  wool,  was 
known  in  a  very  crude  way  before  that  time. 
How  the  art  developed,  and  how  improve- 
ment followed  improvement,  makes  very 
interesting  reading  for  the  student  of  textile 
fabrics. 

We  know  that  weaving  is  the  first  indus- 
trial art  practised  by  primitive  peoples,  from 
the  fact  that  it  is  found  among  the  savages 
of  Central  Africa  (Park}  and  the  islands  of 
the  sea.  "Clavigero,  in  his  history  of  Mexico, 
shows  that  on  the  conquest  of  that  country, 
weaving  was  found  to  be  practised  by  the 
natives."  (Ashenhurst^ 

The  Egyptians  are  supposed  to  have  been 
inventors  of  the  loom.  There  were  two 
kinds  in  use,  one  horizontal  and  the  other 


PRIMITIVE  AND  MODERN  LOOMS 

perpendicular.  Instead  of  a  shuttle  they 
used  a  stick  with  a  hook  at  one  end,  which 
was  used  also  as  a  batten.  Herodotus  says 
that  it  was  the  practice  of  the  Egyptians  to 
push  the  woof  downwards,  and  this  method 
is  pictured  in  many  paintings ;  but  one  rep- 
resentation found  at  Thebes  shows  a  man 
pushing  it  upwards.  The  former  method  is, 
I  believe,  the  one  generally  used  by  all 
nations,  and  it  certainly  seems  the  easier 
way.  Martin's  description  of  a  Hindoo 
loom  in  his  "  Circle  of  the  Mechanical  Arts" 
is  interesting :  "  The  loom  consists  merely 
of  two  bamboo  rollers,  one  for  the  warp  and 
the  other  for  the  web,  and  a  pair  of  gears. 
The  shuttle  performs  the  double  office  of 
shuttle  and  batten,  and  for  this  purpose  is 
made  like  a  huge  netting  needle,  and  of  a 
length  somewhat  exceeding  the  breadth  of 
the  cloth.  This  apparatus  the  weaver  carries 
to  a  tree,  under  which  he  digs  a  hole  large 
enough  to  contain  his  legs  and  the  lower 
part  of  the  gear.  He  then  stretches  his  warp 
by  fastening  his  bamboo  rollers,  at  a  due  dis- 
tance from  each  other  on  the  turf,  by  wooden 
pins.  The  balance  of  the  gear  he  fastens  to 
some  convenient  branch  of  the  tree  over  his 
head.  Two  loops  underneath  the  gear,  in 
which  he  inserts  his  great  toes,  serve  instead 


i6 


HAND-LOOM  WEAVING 


of  treadles,  and  his  long  shuttle,  which  also 
performs  the  office  of  batten,  draws  the  weft 
through  the  warp,  and  afterwards  strikes  it 
up  close  to  the  web." 

Ashenhurst  says  :  "  It  is  very  evident  that 
the  implements  used,  not  only  by  the  early 
Egyptians,  but  by  other  contemporaneous 
nations,  and  even  by  the  Hindoos  at  the 
present  time,  were  of  the  rudest  possible 
character,  and  nothing  but  the  most  exem- 
plary patience,  dexterity,  and  great  delicacy 
of  hand,  acquired  by  long  traditionary  habit, 
can  account  for  the  extraordinary  beauty  and 
fineness  of  their  textile  productions."  This 
exemplary  patience,  dexterity,  and  great  del- 
icacy of  hand  is  exactly  what  we  claim  that 
weaving  develops  in  our  children  to-day. 

The  primitive'  loom,  as  it  is  made  for  use 
in  the  public  schools,  is  familiar  to  almost 
every  teacher.  It  consists  of  a  wooden  frame, 
in  the  two  ends  of  which  are  fastened  brads  at 
intervals  of  half  an  inch.  The  warp  is  strung 
around  these  brads.  There  is  no  variation 
either  in  the  size  of  the  rug  or  in  the  width 
of  the  warp  to  afford  opportunity  for  differ- 
ent materials.  This  is  a  decided  objection, 
as  a  new  frame  has  to  be  made  every  time 
a  change  is  desired.  The  first  difficulty 
encountered  is  the  drawing  in  of  the  sides  of 


PRIMITIVE  AND  MODERN  LOOMS 


the  rug,  which  is  almost  impossible  to  avoid, 
even  with  the  utmost  care.  Photographs  of 
work  in  the  leading  educational  magazines, 
as  well  as  samples  of  teachers'  work,  all  show 
the  same  defect.  The  Indians  obviate  this 
difficulty  by  twisting  two  stout  cords  in  the 
edge  of  the  woof  during  the  process  of 
weaving.  (See  illustration  on  page  135.)  In 
one  school,  where  the  work  in  this  respect 
was  fairly  well  done,  the  teacher  was  asked 
how  she  accomplished  the  result.  Her  reply 
was,  "Oh,  I  make  them  pull  it  out  every 
time  it  draws."  Poor,  patient  little  fingers! 
One  can  imagine  the  thoughts  which  were 
woven  into  that  imperfect  rug  by  the  dis- 
couraged little  worker.  Another  disadvan- 
tage of  the  primitive  loom  is  that  the  child 
must  bend  over  it  while  weaving,  and  if,  by 
chance,  he  turns  it  over  to  examine  the  other 
side  of  the  work,  the  brads  are  apt  to  leave 
an  unsightly  impression  on  the  desk. 

One  of  Froebel's  fundamental  principles 
is  that  a  child  should  never  be  allowed  to  fail 
—  that  his  work  should  be  so  adapted  that  he 
will  succeed  every  time,  and  that  he  should  be 
led  step  by  step  as  his  power  grows,  to  some- 
thing more  difficult. 

"  One  thing  is  forever  good, 
That  one  thing  is  success." 


tS 


HAND-LOOM    WEAVING 


We  have  all  experienced  the  joy  of  success 
in  one  way  and  another.  Let  us  help  the 
children  to  have  the  same  experience. 

The  idea  of  the  "new  education"  is  that 
the  child  should  work  out  his  own  salvation 
—that  having  wrestled  with  the  difficulties 
involved  in  weaving  on  the  primitive  loom, 
he  should  proceed  not  only  to  invent  but  to 
construct  a  newer  and  more  improved  loom. 
In  model  schools,  where  the  classes  are  limited 
to  ten,  or  sometimes  fewer  children,  with  one 
teacher  and  several  assistants,  this  idea,  if 
carried  out,  is  ideal,  and  perhaps  practical. 
But  what  shall  be  said  of  the  public-school 
teacher  who  has  fifty  children  and  no  assist- 
ants; or  what  of  the  teacher  with  two  sessions 
of  fifty  pupils  each,  which  is  often  the  case 
in  our  crowded  schools?  It  was  the  effort  to 
solve  a  problem  of  this  kind  that  led  to  the 
invention  of  the  Todd  adjustable  hand  loom. 

Practical  experience  in  the  use  of  these 
looms  for  several  years  has  suggested  some 
changes,  and  they  are  now  made  of  hard- 
wood throughout  from  selected  and  thor- 
oughly dried  birch.  The  frame  is  made  with 
double-lock  corners,  nailed  and  glued,  and 
the  notched  end  bars  of  reinforced  wood 
have  teeth  sufficiently  long  to  retain  the 
warp  strings.  The  perforations  for  rods  in 


PRIMITIVE  AND  MODERN  LOOMS 


these  bars  are 
now  made  of 
the  same  size, 
and  the  rods 
can  be  in- 
serted from 
either  end. 

The  Todd 
Loom  No.  i  is 
adjustable  in 
width  only,  by 
moving  the 
rods  to  differ- 
ent perfora- 


Pillow  Loom,  20-S.20  inches 


tions.  Size, 
9x12  inches; 
two  rods  and 
no  needle. 

Loom  No.  i 
is  also  .  made 
in  size  20  x  20 
inches  for 
pillow  tops, 
pieced  rugs, 
with  continu- 
ous warp  for 
strips  of  any 
length. 

The  Todd 


The  Todd 
Loom  No.  i 
gx  12 
inches 


20 


HAND-LOOM  WE  A  VING 


''          .  -';  illiltlii 


wooden  needle. 

The  Todd  Per- 
fection Loom  is  ad- 
justable in  length 
and  width  and  has 
hammock  attach- 
ments. These 
curved  ends  allow 
for  the  requisite 
dip  in  hammocks 
without  interfer- 
ing with  other 
work.  Size,  9x12 
inches;  two  rods, 


Loom  No.  2  is 
adjustable  in 
length  and 
width.  To 
adjust  for 
length,  press 
the  lock  bar 
down.  Move 
the  head  to 
any  desired 
notch  and  re- 
lock  with  bar. 
Size,  9x12 
inches;  two 
rods,  and  long 


The  Todd  Loom  No.  2,  adjusted 
for  w-inch  square 


PRIMITIVE  AND  MODERN  LOOMS 


21 


and  long  wooden  needle. 

The  Todd  Hammock 
Loom  Board  is  intended 
for  hammocks  only. 
Size,  7x10  inches.  (See 
illustration  on  page  95.) 

While  a  great  deal  of 
the  work  is  intended  for 
the  schoolroom,  many 
suggestions  are  given  for 
home  weaving,  in  making 
various  articles  for  birth- 
day and  holiday  gifts. 


IFECTIOS"* 


The  Todd  Perfection 

Loom 

with  hammock, 
inches 


The  Todd 
Perfection 
Loom 
with  rug 

c?X/0 

inches 


HAND-LOOM  WEAVING 


A  CHAT  ON  WEAVING 

\\ REAVING  is  the  art  of  interlacing 
threads,  yarns,  filaments,  or  strips  of 
different  material,  so  as  to  form  a  cloth  or 
fabric.  It  is  an  ideal  occupation,  not  only 
for  little  children,  but  for  older  ones  as  well, 
affording  admirable  opportunities  for  the 
development  of  head,  hand,  and  heart.  It 
trains  both  hands  in  deftness  and  proves  a 
delight  to  the  left-handed  child,  who  for  the 
joy  of  using  his  left  hand  again,  will  plod 
patiently  across  with  the  right.  The  fat  little 
hands  soon  learn  to  grasp  the  large  needle, 
and  the  nerves  and  muscles  of  both  hand  and 
arm  are  strengthened  by  daily  use.  Both 
hand  and  eye  are  trained  in  accuracy,  and 
the  training  in  patience,  perseverance,  indus- 
try, economy  in  the  use  of  materials,  percep- 
tion, concentration,  dexterity,  and  self-reli- 
ance cannot  be  overestimated.  The  heart, 
too,  has  its  part  in  the  joy  of  giving  to  others, 
for  the  children  are  encouraged  to  make 
little  gifts  for  the  home.  A  consciousness 
of  power  comes,  also,  with  experience ;  and  a 


A    CHA  T  ON  WE  A  VING 


sense  of  self-respect  arises  when  the  child 
realizes  that  he  is  of  some  use  in  the  world. 

Lois  Bates,  in  her  "Kindergarten  Guide," 
says  that  "in  the  manufacturing  districts  of 
England  great  numbers  of  the  children  who 
pass  through  the  elementary  schools  are  em- 
ployed in  mills  where  weaving  is  carried  on, 
or  enter  textile  schools  to  learn  designing 
in  cloth.  If  this  occupation  of  mat-weaving 
could  be  continued  until  the  children  had  a 
thorough  knowledge  of  its  principles,  how 
much  intelligence  might  be  brought  to  bear 
on  the  actual  weaving  and  how  much  mo*re 
pleasure  might  the  worker  draw  from  labor 
that  is  often  looked  upon  as  so  much  me- 
chanical drudgery!"  The  keynote  for  this 
is  the  thorough  knowledge  which  is  necessary, 
whether  or  not  our  children  are  to  enter 
textile  schools.  Whatever  they  do,  let  them 
do  it  thoroughly.  It  should  always  be  a 
question  of  quality,  not  quantity. 

For  this  reason  I  have  taken  up,  quite  at 
length,  the  subject  of  first  steps  in  weaving, 
believing  that  children  should  be  kept  at 
simple  weaving  until  they  understand  the 
principles  thoroughly.  The  felt  and  paper 
mats  prepare  the  way  for  loom-weaving;  the 
free  paper  weaving,  and  the  slats  and  splints 
for  basketry.  A  few  suggestions  on  the  use 


HAND-LOOM  WEAVING 


of  the  slats  and  splints  have  been  given  for 
two  reasons:  First,  for  the  training  which 
they  afford  in  dexterity  and  great  delicacy  of 
touch,  to  say  nothing  of  exemplary  patience ; 
and  second,  because  the  preliminary  training 
for  basketry  should  be  given  in  the  lower 
primary  grades.  The  time  necessary  to  train 
clumsy  fingers  can  hardly  be  taken  from  the 
regular  work  in  grades  where  basketry  is  a 
prescribed  course. 

"  Skill  in  the  fundamental  methods  of 
weaving  is  essential  even  as  the  ringers  must 
be  trained  in  music  before  the  soul  of  the 
musician  can  find  its  expression.  Make  good 
baskets  first,  simple  in  shape,  strong  in  tex- 
ture, suited  to  the  purpose  for  which  they 
are  intended ;  unconsciously  they  will  grow 
beautiful.  The  most  intricate  basket  will 
fail  in  its  purpose  if  the  joinings  are  careless 
or  flaws  in  workmanship  permitted.  If 
originality  is  within  the  weaver,  it  will  find 
its  expression,  once  the  principles  of  weaving 
are  second  nature."  (C.  S.  Coles.}  This  is  also 
true  of  rug  and  mat  weaving,  for  the  aim  of 
all  training  should  be  to  bring  out  the  best 
there  is  in  a  child. 

"  The  longer  on  this  earth  we  live 

And  weigh  the  various  qualities  of  men , 

The  more  we  feel  the  high,  stern-featured  beauty 

Of  plain  devotedness  to  duty; 


A    CHA  T  ON  WE  A  VING 


Steadfast  and  still,  nor  paid  with  mortal  praise, 

But  finding  amplest  recompense 

For  life's  ungarlanded  expense 

In  work  done  squarely  and  unwasted  days. " 

—James  Russell  Lowell. 

The  "  Kraus-Boelte  Guide  "  has  some  good 
suggestions  with  regard  to  the  value  of  paper 
mat  weaving,  in  number  training,  and  for 
following  certain  formulae  which  will  lead 
ultimately  to  invention.  Mme.  Kraus-Boelte 
says :  "  Weaving  leads  to  independent  effort 
and  offers  the  greatest  scope  for  future  tech- 
nical work,  for  it  lays  the  foundation  for 
designing.  Even  though  it  may  not  fan 
into  flame  a  latent  spark  of  genius,  this 
means  of  occupation  at  least  tends  to  show 
the  value  of  honest  labor."  The  child  not 
only  recognizes  the  value  in  honest  labor, 
but  his  sympathy  with  all  labor  is  aroused 
through  his  own  efforts  and  through  the 
stories  told  of  weavers  in  all  lands.  He 
realizes,  also,  although  in  a  limited  way,  the 
interdependence  of  the  whole  world.  If  the 
sun  did  not  shine,  and  the  rain  fall,  there 
would  be  no  grass.  If  there  were  no  grass, 
what  would  the  sheep  do?  If  the  sheep  did 
not  give  any  wool,  what  would  the  weaver 
do?  If  the  weaver  could  not  weave,  what 
would  we  do  for  clothes?  Little  children 
are  always  delighted  to  go  back  to  the 


26 


HAND-LOOM  WE  A  VING 


beginning  of  things.  Oh,  the  joy  of  looking 
back  on  one's  school  days !  As  Friedrich 
Richter  has  truly  said,  "  Recollection  is  the 
only  paradise  from  which  no  man  can  be 
driven." 

One  important  thought  in  this  whole  sub- 
ject is  that  the  work  should  be  so  arranged 
as  not  to  add  any  additional  burden  to  the 
already  crowded  life  of  the  teacher.  It  is  a 
lamentable  fact  that  we  have  overcrowded 
rooms,  and  only  one  pair  of  hands  to  do  all 
that  has  to  be  done.  Perhaps  a  bit  of  the 
author's  own  experience  will  be  of  some 
assistance.  After  looking  the  subject 
squarely  in  the  face  and  considering  it  on 
all  sides,  the  writer  came  to  the  conclusion 
that  it  would  be  an  impossibility  to  do  all 
the  work  alone.  So  some  helpers  were 
called  from  the  pupils  of  the  higher  grades, 
and  the  request  met  such  a  hearty  response 
that  it  was  wondered  why  it  had  not  been 
tried  before.  As  it  is  now  arranged  the 
older  girls  come  in  before  school  and  at 
recess.  They  wind  worsted,  correct  any 
knitting  that  may  be  wrong,  start  new  spools, 
string  looms,  cut  material  for  rugs,  water 
plants,  keep  the  closets  where  the  materials 
are  stored  in  order,  and  do  many  other  things 
which  relieve  in  a  great  measure  the  burden 


A    CHA  T  ON  WE  A  VING 


of  detail.  When  it  is  possible,  the  teacher 
should  choose  girls  who  have  a  sister  or 
brother  in  the  room,  because  their  interest  is 
stronger  and  more  lasting.  Of  course,  some 
training  is  necessary,  but  the  result  compen- 
sates for  the  trouble.  Sometimes  the  work 
in  other  grades  can  be  so  planned  that  the 
children  can  cut  paper  mats  and  strips  for 
use  in  the  first  grade.  The  beautiful  com- 
munity feeling  begun  in  the  kindergarten 
can  thus  be  continued  in  the  public  school. 
The  time  will  come  when  boys  and  girls 
in  the  higher  grades  will  design  patterns 
for  the  younger  children  to  weave. 

Take  plenty  of  time  in  the  first  part  of 
the  year  to  teach  the  children  to  work  well. 
"Time  is  nothing  when  power  is  growing." 
There  are  some  children  who  learn  faster 
than  others  and  they  are  always  delighted  to 
go  about  the  room  and  help  the  slower  ones.  It 
will  sometimes  be  found  that  they  know  just 
how  to  explain  a  difficult  point  —  perhaps  be- 
cause they  have  just  conquered  it  themselves. 

No  work  has  been  specified  as  suited  to 
any  particular  grade.  It  should  depend 
entirely  upon  the  children.  While,  for  con- 
venience, courses  in  industrial  training  are 
planned,  advising  certain  lines  of  work 
which  experience  has  proved  the  best  for 


28 


HAND-LOOM  WE  A  VING 


A  child's 
work 
should  be 
suited  to 
his  capac- 
ity, with- 
out regard 
to  grade 


Train  the 
individual 


Value  of 

hand 

training 


first,  second,  or  third  grade,  there  are  in 
every  school,  certain  children  who  have 
more  manual  than  mental  ability.  These 
are  left  behind  as  the  more  favored  ones  are 
promoted,  and  because  a  certain  course  has 
been  recommended  for  that  particular  grade, 
they  must,  perforce,  do  it  all  over  again. 
Instead  of  bringing  out  the  best  in  these  less 
fortunate  ones,  and  developing  and  strength- 
ening their  minds  through  the  hand  by 
offering  something  not  only  new  and  inter- 
esting, but  which  presents  new  difficulties  to 
conquer,  we  stunt  their  growth  by  giving 
them  the  same  baby  work  term  after  term. 
It  is  time  that  earnest  teachers  considered 
this  important  question.  Let  us  give  up 
training  the  mass  and  begin  to  train  the 
individual.  Through  our  interest  in  them 
they  may  find  their  life  work.  If  a  child  in 
the  first  grade  is  prepared  to  do  any  indus- 
trial work  of  a  higher  grade,  no  matter  how 
dull  he  may  otherwise  be,  by  all  means  let 
him  do  it.  It  is  his  way  of  expressing  what 
lies  within  him.  Not  only  will  his  hand  and 
mind  be  trained  thereby,  but  his  heart  will 
be  filled  with  the  joy  that  always  comes 
through  achievement. 

Hand  training  has  been  found  to  be  of 
great  value  in  all  other  work.    The  children 


A   CHA  T  ON  WEA  VING 


are  brighter,  and  seem  better  able  to  grasp 
an  idea.  The  slow  children  are  also  stimu- 
lated, and  in  doing  the  simple  work  well  are 
preparing  for  that  which  is  more  difficult. 
Impression  and  expression  should  go  hand 
in  hand.  We  know  nothing  of  "the  bad 
boy,"  now  that  we  have  found  something  for 
his  restless  fingers  to  do.  "The  habit  of 
methodical  work  is  the  basis  of  all  ethics." 
In  teaching  children  to  do  their  best,  we  are 
training  citizens.  Some  one  has  facetiously 
remarked  that,  "  In  the  making  of  a  good 
citizen  it  is  necessary  to  catch  your  citizen 
early."  We  cannot  get  hold  of  the  anarchists, 
but  we  can  get  hold  of  their  children,  and  in 
the  training  of  them  to  work  lies  their  salva- 
tion. Formation  is  better  than  reformation. 
Verily,  there  is  nothing  new  under  the 
sun.  We  hie  ourselves  to  the  summer 
schools,  and  return  laden  with  new  ideas  — 
when  lo !  it  dawns  upon  us  that  all  we  have 
done  during  the  hot  days  has  been  to  make 
a  new  application  of  what  Froebel  taught 
the  world  before  we  were  born.  So  in  this 
introduction,  an  old  story  has  been  retold, 
but  I  hope  that  it  will  come  with  a  new 
meaning  to  my  fellow  teachers. 


HAND-LOOM  WEAVING 


FIRST  STEPS   IN  WEAVING 


^PHE  principles  of  weaving  are  very  easily 
learned  with,  felt  mats  and  slats.  One- 
half  a  yard  of  felt  two  yards  wide  will  make 
thirty-six  mats  six  inches  square.  These  are 
very  durable,  and  can  be  used  year  after 
year,  if  protected  from  moths  during  the 
summer.  Some  people  prefer  leather,  oil- 
cloth, or  holland  mats,  but  these  materials 
are  more  expensive,  and  are  not  so  pleasant 
to  work  with  as  the  soft  wool.  The  slats, 
which  should  be  at  least  one-half  an  inch 
wide,  can  be  obtained  at  any  kindergarten 
supply  store.  Buy  the  uncolored  slats  and 
dye  them  yourself.  Dark  green  mats,  woven 
with  deep  red  slats,  are  pretty.  The  slats  are 
easier  to  handle  if  they  are  soaked  and  cut 
the  required  length  before  dyeing.  When 
the  six-inch  mats  are  cut,  allow  a  three-quar- 
ter-inch margin  on  all  sides.  Measure  the 
mat  for  one-half-inch  strips,  of  which  there 
will  be  nine,  and  mark  by  snapping  a  chalked 
string  upon  the  mat.  Double  it  with  chalked 
lines  outside  and  commence  to  cut  from  the 


FIRST  STEPS  IN  WEA  VlNG 


center;  then  open  and  finish  cutting  to  the 
margin.  It  would  be  better  for  very  little 
children  if  the  strips  and  slats  could  be  one 
inch  wide.  In  this  case  the  mats  would,  of 
course,  be  larger,  and  it  might  be  necessary 
to  have  the  slats  made  to  order.  The  slats 
should  be  kept  in  little  bundles  containing 
the  required  number,  and  secured  by  rubber 
bands.  If  one  could  have  plenty  of  time 
and  material  it  would  be  a  good  plan  to  have 
several  sets  of  mats  of  different  sizes,  so  that 
the  children  would  not  always  be  confined 
to  one  number  and  its  combinations  in  a 
certain  set  of  patterns  —  in  this  case,  nine- 
but  have  the  pleasure  which  comes  from 
variety.  Demonstration  cards  and  diagrams 
for  weaving  can  be  obtained  at  the  kinder- 
garten and  school-supply  stores.  An  illus- 
tration of  an  excellent  demonstration  frame 
can  be  seen  in  the  "  Kindergarten  Guide,"  by 
Lois  Bates.  Sample  mats  can  be  woven  by 
the  older  children  from  the  designs  in  any 
of  the  "  Guides,"  and  given  to  the  smaller 
children  to  copy. 

When  the  purpose  of  these  practice  mats 
is  understood  there  can  be  no  objection  to 
them  on  the  ground  that  the  work  is  de- 
stroyed by  pulling  out  the  slats  each  time. 
It  is  not  an  unusual  thing  to  see  in  schools, 


Demon- 
stration 
cards  and 
diagrams 


Purpose 
of  practice 
mats 


HAND-LOOM  WE  A  VING 


and  even  in  kindergartens,  faithful  and  con- 
scientious teachers  remaining  after  hours  to 
pull  out  the  slats,  on  the  principle,  perhaps, 
that  what  the  children  do  not  see  will  not 
affect  their  development,  and  the  innocent 
little  bundles  are  given  out  again  on  the 
morrow,  only  to  undergo  the  same  experi- 
ence at  night.  One  wonders  sometimes  if 
this  is  possibly  within  the  definition  of  de- 
ception. "  We  mount  to  the  summit,  round 
by  round,"  and  when  the  children  under- 
stand that  in  doing  the  work  with  the  slats 
well,  they  are  only  learning  ho^cv,  and  that 
each  successful  attempt  brings  the  delight- 
ful day  nearer  when  they  .may  have  a  loom 
to  work  upon,  they  are  perfectly  satisfied. 

When  the  children  have  learned  to  weave 
the  small  mats,  further  practice  can  be  had 
by  weaving  long  slats  into  a  warp  of  cord  on 
the  loom.  It  is  better  to  conquer  the  mys- 
tery of  "  over  and  under  "  in  this  way  than  to 
undo  the  work  and  wear  out  the  material 
after  making  a  mistake. 

Many  teachers  prefer  to  make  the  prac- 
tice mats  of  paper  because  they  are  cheaper. 
Mats  of  construction  paper  in  desirable  colors 
and  sizes  can  be  obtained  at  the  school  sup- 
ply houses.  In  many  schools  children  in 
grades  above  the  entering  room  prepare 


FIRST  STEPS  IN  WE  A  VING 


33 


their  own  mats  by  measuring  with  tablets  or 
rulers  and  then  drawing  and  cutting  on  the 
lines.  When  they  have  learned  to  do  them 
well,  let  each  child  make  one  for  the  enter- 
ing room.  Nothing  so  strengthens  the  com- 
munity feeling  in  a  school  as  encouraging 
the  older  pupils  to  help  the  younger. 

The  Bogus  Paper  Weaving  Mat1  is  al- 
ready ruled  and  children  even  in  the  first 
grade  do  their  own  cutting  in  preparation  for 
weaving.  This  is  preferable  to  plain  paper 
as  little  children  do  not  often  make  a  success 
in  the  use  of  the  ruler.  Opportunity  is  given 
for  an  infinite  variety  of  design,  as  the  mats 
and  strips  are  planned  for  different  widths 
of  warp  and  woof. 

The  mat- weaving,  as  it  is  done  in  the  kin- 
dergarten, is  very  beautiful  and  fascinating 
work.  The  mats  can  be  obtained  in  any  size 
and  any  width  of  strips  at  the  supply  stores. 
The  weaving  is  done  with  a  long  steel  needle 
which  has  a  spring  at  one  end  to  hold  the 
strip.  After  preliminary  work  with  the  felt 
mats  and  slats  the  children  find  themselves 
able  to  weave  quite  independently,  particu- 
larly if  demonstration  cards  or  sample  mats 
are  placed  before  the  class.  An  infinite 
variety  of  patterns,  which  later  will  be  useful 

i  Patented  Aug.  18,  1903,  by  Wilhclmina  Seegmiller. 
3 


34 


HAND-LOOM  WEAVING 


in  wool-weaving,  can  be  found  in  the  "Kin- 
dergarten Guides."  In  weaving  patterns 
having  a  center,  it  is  better  to  weave  two 
strips  at  once,  pushing  one  to  the  top  and 
one  to  the  bottom  of  the  mat.  The  old  num- 
bers of  the  Godey  and  Peterson  magazines 
have  patterns  for  Berlin  wool  and  bead  work 
which  can  be  used  for  the  paper  mats  with 
good  effect.  Mrs.  Kate  Douglas  Wiggin 
(Mrs.  Riggs)  has  some  good  suggestions  for 
invention  in  weaving,  in  her  "Republic  of 
Childhood"  (Occupations).  The  value  of 
weaving  in  number  work  is  also  admirably 
set  forth  in  this  book. 

At  Christmas  time  many  charming  little 
gifts  can  be  made  of  these  mats.  Sachet 
cases  made  of  a  six  or  eight  inch  square,  with 
four  corners  folded  to  the  center,  are  attrac- 
tive. Inclose  with  a  square  of  wadding  a 
pinch  of  heliotrope  or  white-rose  perfume 
powder,  and  fasten  the  corners  together 
with  a  scrap  picture  of  old  Santa  Claus. 

Slat  work  is  useful  in  learning  the  funda- 
mental principles  of  weaving,  although  it  is 
more  closely  related  to  basket  than  to  rug 
weaving.  It  is  an  excellent  preparation  for 
free-paper  weaving,  and  for  basket  work. 

In  interlacing  slats  the  mystery  of  "over 
and  under"  is  solved  and  the  dependence  of 


FIRST  STEPS  IN  IV E A  VING 


one  slat  upon  another  in  making  a  perfect 
whole  is  forcibly  shown,  particularly  when 
the  form  falls  to  pieces  in  the  attempt  to  lift 
it  from  the  table.  Edward  Wiebe  says  in 
his  "  Paradise  of  Childhood  ":  "  It  was  the  one 
slat  which,  owing  to  its  dereliction  in  per- 
forming its  duty,  destroyed  the  figure  and 
prevented  all  the  other  slats  from  perform- 
ing theirs."  One  such  experience  teaches 
more  than  a  thousand  precepts.  The  geo- 
metrical forms  learned  in  the  sense-training 
lessons  can  be  reproduced  with  the  slats  and 
will  thus  be  impressed  upon  the  mind  during 
the  period  of  busy  work  at  the  desk.  A 
series  of  beautiful  designs  is  published  by 
E.  Steiger,  New  York.  Many  designs  may  be 
grouped  for  decoration,  and  single  symmetri- 
cal figures  can  be  mounted  upon  heavy  paper. 
Free-paper  weaving  requires  skill  of  hand 
and  much  patience  before  the  child  can 
achieve  a  successful  result.  Perhaps  a  few 
words  regarding  it,  and  information  about  a 
simple  sequence  of  paper  patterns,  will  not 
be  out  of  place,  since  so  many  are  to-day 
taking  it  up.  Strips  of  manilla  or  construc- 
tion paper  in  a  variety  of  colors,  forty  inches 
long  and  one  inch  wide,  are  used.  These  are 
cut  into  strips  eight  inches,  sixteen  inches, 
twenty  inches,  and  twenty-four  inches  in 


HAND-LOOM  IV EA  VIXG 


Sequence 


Sequence 
in  paper 
weaving 


length.  For  the  first  pattern  of  the  sequence 
take  four  strips  eight  inches  long  and  double 
each  one.  Hold  two  of  them  side  by  side  in 
the  left  hand,  so  that  the  open  ends  of  the 
outer  strip  are  at  the  top  while  those  of  the 
other  are  at  the  bottom.  With  the  right 
hand  inclose  the  first  strip  in  the  left  hand 
with  one  of  the  remaining  double  strips  and 
pass  the  ends  of  the  latter  between  the  two 


ends  of  the  second  strip.  It  helps  the  chil- 
dren to  say  "Around  the  open  and  through 
the  closed"  while  they  are  weaving.  This 
refers  to  the  position  of  the  strips  in  the 
hand,  that  is,  open  or  closed  at  the  top.  Then 
hold  the  work  in  the  right  hand  and  proceed 


FfRST  STEPS  'IN  WEA  VING 


37 


in  the  same  way  with  the  left  hand.  When 
both  strips  are  in,  draw  them  tight  and  they 
will  be  firmly  w^oven.  The  ends  can  be  cut 
in  any  way  desired.  These  little  forms  can 
be  used  for  bookmarks.  They  are  very  at- 
tractive when  made  in  two  tones  of  one  color. 
The  second  pattern  of  the  sequence  is 
made  with  sixteen-inch  strips.  The  first 
part  is  woven  like  the  bookmark.  Four 
double  strips  now  project  from  the  square. 
Begin  at  the  bottom  and  fold  back  the  upper 
one  of  each  of  these  double  strips.  As  you 
do  this  you  wrill  find  that  you  are  weaving 
another  square  on  top  of  the  first  one.  To 
secure  the  last  strip  pass  it  under  the  square 
next  to  it  and  pull  it  through.  You  will  now 
have  eight  single  strips,  two  on  each  side. 
To  form  these  into  points  for  a  star  proceed 
as  follows:  Begin  with  the  right-hand  strip 
at  the  top  and  number  all  the  strips  from 
one  to  eight.  Fold  number  one  back  toward 
the  right,  making  at  the  fold  a  right-angled 
triangle.  Fold  the  strip  down  again  towards 
you,  making  another  triangle  which  is  folded 
back  to  the  left  on  the  first  one.  Slip  the 
end  of  the  strip  under  the  square  next  to  it 
and  cut  it  off.  Proceed  in  the  same  way  with 
three,  five,  and  seven.  Then  turn  the  form 
over  and  fold  the  strips  two,  four,  six,  and 


HAND-LOOM  WEAVING 


eight  in  the  same  way,  cutting  off  the  strips 
when  finished.  Many  of  these  stars  can  be 
joined  to  make  mats,  baskets,  picture  franles, 
etc.  They  are  pretty  when  made  of  gilt  or 
colored  paper  for  Christmas  decorations. 

Pattern  number  three,  a  bookmark,  is 
made  like  the  first,  except  that  eight  strips  of 
sixteen-inch  length  are  used  and  the  strips 
woven  at  right  and  left  are  finished  as  di- 
rected for  the  mat.  Number  four  is  another 
form  like  this,  with  the  long  ends  back  and 
front  slipped  through  squares  to  form  a 
napkin  ring.  Number  five  is  a  six-inch  mat 
made  of  twelve  twenty-inch  strips.  Weave 
six  double  strips  left  and  right  into  two 
strips  and  then  add  four  to  make  the  square. 
To  finish  the  edge  cut  off  the  under  one  of 
each  double  strip,  fold  the  upper  one  over  it 
and  then  slip  it  under  the  square  which 
comes  next,  cutting  it  off  even.  Strips  of 
felt  can  be  woven  in  this  way  for  table  mats 
or  holders. 

The  sixth  pattern  is  a  pencil  holder  or 
a  basket,  as  you  may  wish.  It  may  be  round 
or  square  on  the  bottom — in  the  latter  case 
the  sides  are  creased  to  form  a  square  prism. 
Double  twelve  twenty-four-inch  strips,  weave 
eight  right  and  left  into  four;  finish  one 
long  edge  for  the  top  of  the  basket  as  you 


FIRST  STEPS  IN  IV E A  VING 


39 


did  the  edge  for  the  mat.  Bend  in  the  form 
of  a  ring  and  slip  the  ends  as  you  did  for  the 
napkin  ring,  cutting  them  off.  To  make  the 
bottom,  crease  all  the  projecting  ends  in  and 
weave  together  as  you  did  the  second  part  of 
number  two,  only  double,  and  fasten  the 
strips  on  the  outside  of  the  basket.  This 
makes  a  good  waste  basket  for  the  doll 


house.     With  a  cover  it  would  make  a  fine 
hamper  for  Miss  Dolly's  clothes. 

This  free  weaving  leads  directly  to  weav- 
ing with  splints.  These  are  much  thinner 
than  slats  and  can  be  obtained  at  the  kinder- 
garten supply  stores.  Many  beautiful  things 
can  be  made  with  splints.  They  are  easily 
dyed  at  home  and  many  pleasing  combina- 
tions of  color  can  be  obtained  in  this  way. 
Celluloid  strips  make  beautiful  boxes  and 
baskets. 


HAND-LOOM  WEAVING 


A  delightful  exer- 
cise with  the  small 
children  is  the  making 
of  a  "Jacob's  ladder," 
or  " Pussy-cat  stairs," 
as  they  are  often  called. 
Fold  a  forty-inch  strip 
of  paper,  one  inch  wide, 
so  as  to  form  a  right- 
angle  in  the  middle. 
Or,  if  a  longer  ladder 
be  desired, 
place  one 
end  of  a 
forty-inch 
strip  over 

the  end  of  another  one,  at  right 

angles,  and  fasten  with  a  drop  of 

paste.     Fold  from   left  to  right, 

one  strip  upon  the  other,  holding 

the  strips  so  as  to  always  fold  np, 

until  you  come  to  the  end;  then 

pull  out,  and  behold  the   stairs! 

The  little  fingers  will  work  pa- 
tiently along  time  to  achieve  this 

charming  result,  and  much  skill 

of  hand   will   be   gained   in  the 

doing.      Use    colored    paper   f 

this  whenever  possible. 


FIRST  STEPS  IN  WEA  VING 


The  illustrations  on  this  and  on  the  pre- 
ceding- page  show  some  fascinating  work 
for  little  hands.  The  looms  are  made  of 
heavy  pasteboard  cut  in  notches,  in  which 
the  warp  of  the  same  material  as  the  woof 
is  strung.  Care  should  be  taken  to  keep  the 
warp  straight,  and  to  finish  all  the  edges 
well.  The  articles  in  the  illustrations  were 
made  by  first-grade  children  in  the  Ericcson 
School,  St.  Paul,  Minnesota. 


HAND-LOOM  WEAVING 


METHODS  OF  STRINGING  WARP 


T^HE  best  material  for  warp  in  rug  and 
mat  weaving  is  trie  four-ply  carpet  warp 
which  comes  in  half-pound  spools.  Unless 
one  can  match  the  woof  exactly,  it  is  better 
to  use  a  neutral  color  —  dark  brown  or  slate- 
as  it  is  less  noticeable  at  the  ends  of  the  rugs. 

The  warp  should  be  a  continuous  string, 
and  when  strung  should  spring  lightly 
beneath  the  hand.  A  much  firmer  edge  can 
be  secured  by  stringing  the  warp  double  over 
each  rod  and  in  the  two  adjoining  notches. 
This  will  overcome  the  tendency  of  the  warp 
threads  to  creep  toward  the  center,  which, 
if  allowed,  will  make  the  edges  of  the  rug 
too  loose.  The  child  should  be  taught  to 
push  the  woof  threads  together  with  the  best 
tool  in  the  world  —  his  fingers  —  and  in  doing 
so  to  straighten  the  warp  threads  each  time 
he  weaves,  so  that  they  will  lie  parallel  to 
the  rod.  It  is  not  the  rod  which  makes  a 
loose  edge  —  it  is  careless  weaving. 

Adjust  the  loom  for  the  required  size. 
Begin  at  the  left  and  the  foot  of  the  loom. 


METHODS  OF  STRINGING   WARP 


43 


Leave  an  end  equal  to  the  length  of  the  rug, 
stretch  the  warp  string  over  the  rod  to  the 
head  piece,  pass  it  around  one  tooth,  then 
down  to  the  foot  of  the  loom  and  tie  securely 
to  the  first  string.  Continue  two  more 
strings,  then  pass  warp  string  back  to  the 
first  notch  again  and  cover  the  first  three 
strings.  The  warp  will  now  be  double. 
Proceed  as  before  until  you  reach  the  right 
side  of  the  loom,  then  come  back  to  the  third 
notch  and  double  the  last  three  strings. 
Leave  an  end  equal  to  the  length  of  the  rug 
and  tie  securely  to  the  next  to  the  last  string. 
The  two  long  ends  are  intended  to  run  up 
the  sides  of  the  rug  after  the  rods  are  re- 
moved and  before  the  rug  is  lifted -from  the 
loom.  This  gives  a  neater  finish  than  when 
the  warp  string  is  cut  off  short.  Only  expe- 
rience can  teach  the  tightness  with  which  a 
warp  should  be  strung.  If  it  be  too  loose, 
the  work  will  be  uneven  and  the  strings  wrill 
slip  out  of  the  notches.  If  it  be  too  tight, 
the  strings  will  pull  too  much  on  the  head 
and  foot  piece  of  the  loom  and  the  weaving 
at  the  finish  will  be  difficult. 

For  bordered  rugs  string  the  whole  border 
double. 

For  very  fine  weaving,  where  it  is  neces- 
sary for  the  warp  threads  to  touch  each  other 


HAND-LOOM  WE  A  VING 


in  order  to  produce  a  design  with  the  woof, 
string  a  double  warp  with  the  same  material 
as  the  woof.  Then  with  a  blunt  steel  weav- 
ing needle  separate  the  warp  threads,  twist- 
ing one  over  the  other  so  that  all  will  lie 
side  by  side,  and  secure  them  by  weaving 
a  few  times  across  the  loom. 

For  stripes,  string  the  warp  with  different 
colors  at  regular  intervals,  using,  of  course, 
the  same  material  as  the  woof.  Then  weave 
the  woof  of  one  color.  See  illustration  of 
table  mat  for  example  of  stripes  forming 
squares  at  the  corners. 

For  a  plaid  effect,  string  the  striped  warp, 
as  above,  and  weave  the  same  colors  at  equal 
intervals.  The  silk  canvas  panels  and  holder 
are  good  examples  of  plaid  weaving. 

When  the  warp  is  of  the  same  material  as 
the  woof,  and  it  is  desired  to  extend  it  to 
form  a  fringe,  it  can  be  done  in  the  following 
manner:  After  the  loom  is  adjusted  for  the 
required  size,  cut  the  warp  strings  so  as  to 
allow  two  or  three  inches  beyond  the  head 
and  foot  pieces.  If  you  intend  to  knot  the 
fringe  in  some  fanciful  way  after  the  weav- 
ing is  finished,  allow  four  or  five  inches. 
Take  two  threads,  knot  so, as  to  leave  the 
required  length  for  fringe*  below  the  foot 
piece,  pass  around  one  tooth,  stretch  to  the 


METHODS  OF  STRINGING   WARP 


45 


head  piece  and  knot  firmly  on  the  upper  side, 
leaving  a  fringe  of  the  same  length  there. 
Knot  the  strings  in  pairs  in  this  way  until  the 
whole  warp  is  strung.  It  will  be  noticed 
that  the  rods  are  placed  beneath  notches  of 
odd  numbers. 

In  knotting  warp  strings  in  pairs  it  will 
be  found  necessary,  when  the  last  tooth  is 
reached,  to  start  the  next  string  in  the  same 
notch.  This  will  bring  two  strings  togetJier 
and  the  last  one  on  top  of  the  rod. 

In  weaving  raffia  mats  it  is  better  to 
string  the  warp  in  pairs  with  fringe,  as 
above,  on  account  of  the  difficulty  of  splicing 
a  raffia  warp.  Raffia  mats  are  often  woven 
upon  carpet  warp. 

Kiz-Kilim  rugs  have  perforated,  or  open- 
work, patterns.  To  produce  this  effect,  string 
the  warp  in  pairs  as  before,  only  use  two 
strings  in  every  notch  —  that  is,  two  pairs, 
knotting  four  ends  together  for  the  fringe. 
Use  an  unbleached,  light  brown,  or  slate 
colored  warp. 

In  stringing  warp  in  pairs  for  dolls' 
towels  have  two  strings  over  each  rod  and 
one  extending  one  notch  beyond  on  each 
side.  This  makes  a  piece  of  fringe  for  the 
edges  of  the  towel. 

Rugs  and  strips  may   be   made   of   any 


46 


HAND-LOOM  WEAVING 


length  by  stringing  a  continuous  warp. 
After  trie  length  has  been  decided  upon,  cut 
the  warp  strings  twice  as  long.  Double 
one  string,  place  it  around  the  first  tooth  in 
the  foot  piece,  so  that  the  outside  string  lies 
on  top  of  the  rod,  bring  up  the  two  ends 
firmly  to  the  first  tooth  in  the  head  piece. 
Knot  securely  on  the  upper  side  and  let  the 
long  ends  extend  beyond  the  head  piece.  If 
the  warp  threads  are  a  little  more  than  twice 
the  length  of  the  loom  they  may  be  brought 
down  at  the  back  and  fastened  to  the  foot 
piece.  If  preferred,  they  may  be  wound  on 
spools  or  around  the  tops  of  the  rods  to  pre- 
vent tangling.  Continue  in  this  way  until 
the  whole  warp  is  strung. 

Observe  the  directions  given  before  for 
stringing  warps  in  pairs. 

It  is  not  necessary  to  weave  the  loom  full 
each  time,  as  the  last  inch  is  very  slow  work. 
When  the  weaving  is  near  the  head  piece, 
draw  out  the  rods,  lift  the  strip  from  the 
notches,  pass  it  down  to  the  foot  piece,  so 
that  the  part  which  was  at  the  head  is  now 
at  the  foot,  untie  the  knots,  press  the  weav- 
ing close  to  the  foot  piece  on  the  outside, 
and  knot  the  warp  strings  as  before  at  the 
head  piece.  This  can  be  done  as  many  times 
as  desired. 


METHODS  OF  STRINGING   WARP 


47 


The  warp  string  on  top  of  the  rod  is 
always  included  with  the  rod  in  weaving. 
This  is  important  to  remember,  as  the  string 
takes  the  place  of  the  rod  when  the  latter  is 

removed. 


Warp 
string  an 
top  of 
the  rod 


A  Navajo 
rug 


48 


HAND-LOOM  WEA  VING 


Rug  yarn 


Chenille 


Chenille 

used  for 

knitting 

and 

crocheting 


Cotton 
roving 


i/          MATERIALS 

"D  UG  yarns,  in  beautiful  colors,  can  now 
be  obtained  at  the  shops  handling  sup- 
plies for  industrial  work.  With  these  coarse, 
hairy  yarns  one  can  get  an  effect  not  ob- 
tainable from  the  softer  and  smoother  yarns. 
It  is  true  that  they  often  break  in  weaving, 
but  they  are  easily  spliced  again,  so  one  can 
forgive  them  this  shortcoming. 

Chenille  is  an  ideal  material,  and  the  soft 
velvet-like  rugs  are  a  delight  to  the  children. 
It  comes  in  many  beautiful  plain  colors  and 
in  the  variegated,  which  has  at  intervals 
several  inches  of  the  plain  color  to  match 
the  one  chosen  for  the  rug.  This  chenille 
is  also  used  for  knitting  or  crocheting  long 
strips  for  slumber  robes,  afghans,  portieres, 
etc.  In  knitting,  use  a  No.  4  needle  and 
knit  the  plain  garter  stitch.  In  crocheting, 
use  the  plain  crochet  stitch  (single)  and  a 
coarse  needle.  Use  shell  stitch  for  the  bor- 
der. Cotton  roving  is  also  much  used.  It 
is  a  large,  rope-like  material,  fills  rapidly, 
and  comes  in  beautiful  colors. 


MA  TERIALS 


49 


Jute,  single,  two,  three,  or  four  ply,  can 
be  used  for  rugs,  but  it  is  not  so  pleasing 
either  in  the  weaving  or  in  the  result  as 
yarn,  or  chenille.  The  effect  is  like  that  of 
a  grass  rug.  This  is  a  good  material  for 
stencilled  rugs.  A  plain  rug  is  woven  and 
a  pattern  stencilled  upon  it  in  one  or  more 
colors.  This  is  preferable  to  weaving  several 
colors  of  this  stiff  material.  Jute  is  also  used 
for  hammocks,  but  it  is  not  as  desirable  as 
soft  macreme  cord  No.  12. 

Plain  or  figured  silkoline  should  be  cut 
in  bias  strips  half  an  inch  wide.  Stretch 
and  pull  through  the  hands  until  both  edges 
are  ravelled.  When  these  strips  are  woven, 
the  rug  or  mat  will  be  reversible.  Figured 
silkolines  give  a  pretty  mottled  effect,  espe- 
cially those  in  which  Turkish  colors  pre- 
dominate. Rugs  having  plain  centers  and 
mottled  borders,  or  vice  versa,  are  beautiful. 
This  applies  also  to  chenille. 

Strips  of  cheesecloth  can  be  prepared  in 
the  same  way.  Cut  them  three-fourths  of  an 
inch  wide  on  account  of  the  tendency  to 
ravel.  Serviceable  face  and  dish  cloths  can 
be  made  of  white  cheesecloth.  Some  of 
the  colored  cheesecloths  make  pretty  rugs. 
When  a  desirable  color  cannot  be  found,  the 
white  cloth  can  be  dyed  at  home. 


HAND-LOOM  WE  A  VING 


Dress 
lining 


Silk 


Candle 


Soft  dress  linings  come  in  many  beauti- 
ful colors.  Old  pieces  may  be  utilized  by 
cleaning  and  dyeing.  The  pieces  are  cut  in 
bias  strips,  half  an  inch  in  width. 

Pieces  of  old  silk  can  also  be  prepared  in 
this  way  and  with  continuous  warp  can  be 
woven  in  strips  for  a  pillow  top,  a  table  run- 
ner, or  for  portieres. 

wickin  Table  mats,  wash  cloths,  and  similar  arti- 

cles can  be  made  from  candle  wicking.  For 
lamp  mats,  cushion  covers  and  other  articles, 
the  material  may  be  dyed  and  woven  in  two 
colors  or  in  two  tones  of  one  color.  A  num- 
ber of  squares  can  be  joined  to  make  a  ham- 
mock pillow.  By  stringing  the  warp  of 
white  or  colored  wicking,  and  weaving  with 
the  same  material,  a  coarse  canvas  can  be 
made  upon  which  the  children  can  cross- 
stitch  a  pretty  border  and  center  piece,  or  an 
all-over  pattern  by  copying  kindergarten 
designs,  or  even  initials  and  monograms. 
Rope  silk  Beautiful  silk  canvas  can  be  made  of  rope 
ropetine  silk,  or  ropetine,  a  mercerized  cotton  material, 
and  cross-stitched  with  another  color  or 
tone ;  or  with  chenille,  making  a  velvet  figure. 
Two  colors,  or  two  tones,  may  be  woven  with 
chenille  and  silk  in  a  kindergarten  design. 
Beautiful  holiday  and  birthday  gifts,  such  as 
mats,  cushion  covers,  sachet  cases,  can  be 


MATERIALS 


made  from,  these  materials.  Glove,  mou- 
choir,  necktie,  fan,  and  trinket  boxes  can 
be  made  by  weaving-  the  top,  bottom,  and 
sides  in  panels.  Foundation  boxes,  which 
may  be  purchased  for  a  few  cents,  are  excel- 
lent for  this  purpose,  or  they  can  be  made 
very  well  from  cardboard  at  home.  Make 
the  hinges  of  ribbon  and  line  the  boxes  with 
silk  of  a  corresponding  or  contrasting  color. 

An  ideal  material  for  little  folks  is  eight- 
fold Germantown  wool.  This  soft  wool, 
used  for  both  warp  and  woof,  is  excellent  for 
weaving  kindergarten  designs.  The  warp 
can  be  extended  at  head  and  foot  of  the 
loom  for  a  fringe.  By  extending  the  warp 
any  length  desired  beyond  the  head  of  the 
loom,  long  strips  for  slumber  robes,  afghans, 
and  such  articles  can  be  woven.  Carpet 
warp  can  be  used  and  a  plain  rug  with 
colored  stripes  at  each  end  be  woven.  A 
very  pretty  and  easy  gift  for  a  little  child  to 
make  is  a  holder  for  the  teapot. 

Doll  blankets  are  made  of  knitting  yarn. 
The  warp  may  be  of  the  same  yarn  or  of 
carpet  warp.  Navajo  yarn  is  a  tight-twisted 
yarn  used  in  weaving  Turkish  and  Navajo 
rugs.  (See  pages  47  and  92.) 

Dolls'  towels  are  made  of  darning  cotton. 
String  a  close  warp  in  pairs  as  directed  in 


HAND-LOOM  WEA  VING 


Knitting 
cotton 


Macreme 
cord 


Raffia 


Knitting 

silk 


instructions  for  warp  stringing.  Baste  a 
piece  of  canvas  at  one  end  and  cross-stitch 
Miss  Dolly's  initial. 

Plain  white  bedspreads,  or  white  com- 
bined with  a  color  in  a  kindergarten  design, 
can  be  made  of  knitting  cotton,  which  is  a 
little  coarser  than  darning  cotton.  Knot  a 
fringe  on  all  sides.  Lunch  cloths  and  table 
covers  for  Miss  Dolly  can  be  made  in  the 
same  way. 

Soft  macreme  cord  No.  12  is  the  best 
material  for  hammocks.  It  is  better  to  pur- 
chase it  in  balls  rather  than  in  skeins,  as  it 
tangles  easily. 

Many  beautiful  articles  can  be  made  of 
raffia,  which  is  a  palm  fibre  brought  from  the 
island  of  Madagascar.  It  can  be  obtained  in 
the  natural  color  and  in  many  beautiful 
colors.  If  preferred,  one  can  dye  it  at  home. 
It  should  be  washed  first.  While  weaving, 
keep  the  raffia  moist  by  dipping  the  fingers 
now  and  then  in  a  cup  of  water.  Experience 
has  proved  this  method  to  be  more  satis- 
factory than  to  allow  the  raffia  to  remain  in 
water  and  become  thoroughly  soaked,  partic- 
ularly the  colored  raffia. 

By  stringing  a  close  warp  of  knitting  silk 
and  extending  it  the  required  length,  shawl 
straps,  suspenders,  belts,  and  garters  can  be 


MA  TERIALS 


53 


woven.  The  rods  should  be  adjusted  for 
desired  width.  Finish  at  each  end  with 
pieces  of  silk  elastic  of  the  same  color,  and 
with  buckles. 

Angora  wool  makes  pretty  Tarn  o'Shan- 
ters. 

Small  books  containing  cross-stitch  de- 
signs can  be  found  at  embroidery  and  depart- 
ment stores. 

Grass  twine  is  useful  and  economical  in 
weaving  baskets.  It  is  used  as  filling  in  rope 
baskets  instead  of  making  the  rope  of  raffia, 
which  is  more  expensive,  and  also  in  sewed 
baskets. 


Angora 
wool 


Books  of 
patterns 


Grass 
twine 


54 


HAND-LOOM  WE  A  VING 


Diamond 

dyes 


Vegetable 
dyes 


Mrs. 

Candace 

Wheeler's 

pamphlet 


DIRECTIONS  FOR  DYEING 

A  FEW  hints  with  regard  to  dyeing  raffia, 
cheesecloth,  white  cord  for  hammocks, 
yarns,  cotton  roving,  and  other  materials, 
may  be  found  useful.  For  raffia  use  the 
Diamond  dyes  or  Easy  dyes.  Wash  the 
raffia  first.  The  color  will  be  improved  by 
soaking  the  raffia  a  day  in  alum  water,  one- 
half  pound  to  the  gallon.  Dye  once  used  can 
be  kept  in  an  air-tight  ^dish  and  reheated 
whenever  needed. 

Should  one  be  interested  in  vegetable 
dyes  much  information  can  be  obtained  at 
the  public  libraries.  Dr.  Washington  Mat- 
thews speaks  of  Indian  dyes  in  his  article  on 
the  Navajo  weavers  mentioned  in  this  book. 
"How  to  Make  and  How  to  Mend"  also  con- 
tains some  good  suggestions  about  dyes. 

In  her  little  pamphlet,  Home  Industries  and 
Domestic  Weavings,  published  by  the  Asso- 
ciated Artists,  115  East  23d  Street,  New 
York  City,  Mrs.  Candace  Wheeler  has  an 
interesting  chapter  on  "  Rag-Carpet  Weav- 
ing." Her  suggestions  for  dyeing  rags  apply 


DIRECTIONS  FOR  DYEING 


55 


equally  to  yarns  and  to  other  materials  which 
may  be  used  on  hand  looms  for  children. 
Through  her  kind  permission  I  am  allowed 
to  quote  the  following1  suggestions : 

"In  the  early  days  of  this  present  century 
a  dye  tub  was  as  much  a  necessity  in  every 
house  as  a  spinning-wheel,  and  the  reestab- 
lishment  of  it  in  houses  where  weaving  is 
practiced  is  almost  a  necessity;  in  fact,  it 
would  be  of  far  greater  use  at  present  than 
in  the  days  when  it  was  only  used  to  dye  the 
wool  needed  for  family  knitting  and  weav- 
ing. All  shades  of  blue,  from  sky-blue  to 
blue-black,  can  be  dyed  in  the  indigo  tub; 
and  it  has  the  merit  of  being  a  cheap  as  well 
as  an  almost  perfectly  fast  dye.  It  could  be 
used  for  dyeing  warps  as  well  as  fillings,  and 
I  have  before  spoken  of  the  difficulty,  indeed 
almost  impossibility,  of  procuring  indigo- 
dyed  carpet  yarn. 

"  Blue  is,  perhaps,  more  universally  useful 
than  any  other  color  in  rag-rug  making,  since 
it  is  safe  for  both  cotton  and  wool,  and  covers 
a  range  from  the  white  rug  with  blue  warp, 
the  blue  rug  with  white  warp,  through  all 
varieties  of  shade  to  the  dark  blue,  or  clouded 
blue  and  green  rug,  also,  upon  white  warp. 
It  can  also  be  used  in  connection  with  yellow 
or  orange,  or  with  copperas  or  walnut  dye, 


HAND-LOOM  WEAVING 


in  different  shades  of  green ;  and,  in  short, 
unless  one  has  exceptional  advantages  in 
buying  rags  from  woolen  mills,  I  can  hardly 
imagine  a  profitable  industry  of  rag-weaving 
established  in  any  farmhouse  without  the 
existence  of  an  indigo  dyeing  tub. 

"  The  next  important  color  is  red.  Fortu- 
nately, red  warps  can  be  bought  which  are 
reasonably  fast,  but  the  only  way  to  procure 
red  rags  in  quantity  is  to  dye  them,  and, 
although  the  dye  is  somewhat  expensive, 
there  are  two  colors,  turkey  red  and  car- 
dinal red,  which  are  extremely  good  for  the 
purpose.  Probably  these  could  be  bought 
at  wholesale  from  dealers  in  chemicals  and 
dyestuffs  at  much  cheaper  rates  than  by  the 
small  paper  from  the  druggist  or  the  coun- 
try store.  Copperas  gives  a  fast  nankeen- 
colored  dye,  and  this  is  very  useful  in 
making  a  dull  green  by  an  after  dip  in  the 
indigo  tub. 

"  There  are  some  valuable  domestic  dyes 
which  are  within  the  reach  of  ev*ery  country 
dweller,  the  cheapest  and  best  of  which  is 
walnut  or  butternut  stain.  This  is  made 
by  steeping  the  bark  of  the  tree  or  the  shell 
of  the  nut  until  the  water  is  dark  with  color, 
and  setting  it  with  alum.  It  will  give  vari- 
ous shades  of  yellow,  brown,  dark  brown, 


DIRECTIONS  FOR  DYEING 


and  green  brown,  according  to  trie  strength 
of  the  decoction  or  the  state  of  the  bark  or 
nut  when  used.  If  the  bark  of  the  nut  is 
used  w'hen  green,  the  result  will  be  a  yellow 
brown;  and  this  stain  is  also  valuable  in 
making  a  green  tint  when  an  after  dip  of 
blue  is  added.  Leaves  and  tree-bark  will 
give  a  brown  with  a  very  green  tint,  and 
these  different  shades  used  in  different 
rags  woven  together  give  a  very  agreeably 
clouded  effect.  Walnut  stain  will  itself  set 
or  fasten  some  others;  for  instance,  poke- 
berry  stain,  which  is  a  lovely  crimson,  can 
be  made  reasonably  fast  by  setting  it  with 
walnut  juice.  Iron  rust  is  the  most  indeli- 
ble of  all  stains,  besides  being  a  most  agree- 
able yellow,  and  it  is  not  hard  to  obtain,  as 
bits  of  old  iron  left  standing  in  water  will 
soon  manufacture  it.  It  would  be  a  good 
use  for  old  tin  saucepans,  and  various  other 
house  utensils  which  have  come  to  a  state  of 
mischievousness  instead  of  usefulness  Ink 
gives  various  shades  of  gray  according  to 
its  strength,  but  it  would  be  cheaper  to  pur- 
chase it  in  the  form  of  logwood  than  as  ink. 

"  There  is  a  strong  and  well-founded  pref- 
erence among  art  producers  in  favor  of  vege- 
table dyes,  and  yet  it  is  possible  to  use 


HAND-LOOM  WE  A  V1NG 


certain  of  the  aniline  colors,  especially  in 
combination,  in  safe  and  satisfactory  ways. 

"Everyone  who  undertakes  domestic  weav- 
ing must  know  how  to  dye  one  or  two  good 
colors.  Black,  of  course,  and  the  half-black, 
or  gray,  which  a  good  colorist  of  my  ac- 
quaintance calls  a  light  black.  Indigo  blue 
equally,  of  course,  in  three  shades  of  very 
dark  and  light.  Here  are  seven  shades  from 
the  three  dyes,  and  when  we  add  white  we 
see  that  the  weaver  is  already  very  well 
equipped  with  a  variety  of  color.  The  eight 
shades  can  be  still  further  enlarged  by  cloud- 
ing and  mixing.  The  mixing  can  be  done 
in  two  ways,  either  by  carding  two  tints 
together  before  spinning,  or  by  twisting 
them  together  when  spun. 

"  Carding  together  gives  a  very  much  bet- 
ter effect  in  wool,  while  twisting  together  is 
preferable  in  cotton. 

"  Dark  blue  and  white  and  medium  blue 
and  white  wool  carded  together  will  give 
two  blue  grays  which  cannot  be  obtained 
by  dyeing,  and  are  most  valuable.  White 
and  red  carded  together  give  a  lovely  pink, 
and  any  shade  of  gray  can  be  made  by  card- 
ing different  proportions  of  black  and  white 
or  half-black  and  white.  A  valuable  gray 
is  made  by  carding  black  and  white  wool 


DIRECTIONS  FOR  DYEING 


together,  and  by  black  wool  I  mean  the  nat- 
ural black  or  brownish  wool  of  black  sheep. 
Mixing  of  deeply  dyed  and  white  wool  to- 
gether in  carding  is,  artistically  considered, 
a  very  valuable  process,  as  it  gives  a  softness 
of  color  which  it  is  impossible  to  get  in  any 
other  way.  Clouding,  which  is  almost  an 
indispensable  process  for  rug  centers,  can 
be  done  by  winding  certain  portions  of  the 
skeins  or  hanks  of  yarn  very  tightly  and 
closely  with  twine  before  they  are  thrown 
into  the  dye  pot.  The  winding  must  be 
close  enough  to  prevent  the  dye  penetrating 
to  the  yarn.  This  means,  of  course,  when 
the  clouding  is  to  be  of  white  and  another 
color.  If  it  is  to  be  two  shades  of  one  color, 
as  a  light  and  medium  blue,  the  skein  is  first 
dyed  a  light  blue,  and  after  drying,  is  wound 
as  I  have  described,  and  thrown  again  into 
the  dye  pot,  until  the  unwound  portions 
become  the  darker  blue  which  we  call 
medium." 

Through  the  courtesy  of  Mrs.  Helen  R. 
Albee,  who  has  done  much  to  revive  an  inter- 
est in  rug-weaving,  I  am  allowed  to  quote 
the  following  detailed  suggestions  on  the 
subject  of  dyeing  from  her  helpful  manual, 
Abndkee  Rugs.  This  little  manual  treats 
fully  of  the  "Abnakee  Rug  Industry,"  the 


6o 


HAND-LOOM  WE  A  VING 


"  Materials,"  "  Methods  of  Work,"  and  "Dye 
Formulas."  It  was  issued  through  the  River- 
side Press  in  1901. 

vSpeaking  of  combinations  of  color,  Mrs. 
Albee  says : 

"A  careful  study  of  the  effects  of  colors 
upon  each  other  will  show  that  colors  which 
are  in  themselves  beautiful  are  often  inhar- 
monious when  combined.  Also,  a  little  of 
a  color  may  be  good,  when  a  larger  propor- 
tion seems  to  destroy  the  balance  or  har- 
mony. Success  in  this  matter  is  largely  a 
matter  of  close  observation  and  experience, 
although  some  persons  have  a  natural  feel- 
ing or  instinct  regarding  color  which  is  sel- 
dom in  error.  Strong  colors  should  never 
be  used,  especially  greens.  Though  they 
may  be  modest  in  the  piece,  when  worked 
in  with  other  colors,  they  have  an  unfortu- 
nate way  of  becoming  intensified  tenfold. 
The  safest  tones  for  an  amateur  to  deal 
with  are  dull  gray  green,  yellow  green,  and 
a  soft,  full,  but  dark  olive.  In  striking  a 
certain  key  in  color  it  should  be  maintained 
throughout.  Thus,  if  a  full  rich  color  pre- 
dominates, rich  dark  colors  should  be  used 
through  the  whole  scheme.  If  a  light  tone 
is  the  body  color,  soft  light  tones  of  other 
colors  will  be  found  most  harmonious. 


DIRECTIONS  FOR  DYEING 


6 1 


Thus,  for  example,  a  rug  for  a  library,  or  a 
hall,  in  which  a  good  deal  of  rich  terra  cotta 
appears,  should  have  a  border  or  design 
worked  in  dark  blues,  full  shades  of  olive 
green,  and  dull  yellow.  There  is  an  appar- 
ent exception  to  this  in  the  use  of  dull  reds, 
old  ivory,  and  black  as  seen  in  Bokhara  rugs. 
But  if  studied,  the  cream  color  is  very  dull, 
and  is  used  in  such  small  quantities  as  to 
be  quite  subdued  by  the  black  that  is  used 
freely  in  the  pattern.  Old  rose,  warm  golden 
browns,  and  olive  may  be  used  effectively. 
A  light  Gobelin  blue  may  be  worked  with 
ivory,  old  pink,  light  dull  olive,  and  the  out- 
lines can  be  either  a  dark  yellow  brown  or 
very  dark  bronze  green.  An  ivory  center 
is  lovely  with  an  old  pink  border  worked  in 
green.  A  tan  center  may  be  combined  with 
old  rose,  sage  green,  bronze  green,  light 
yellow,  cream  color,  and  dark  brown  out- 
lines. Indigo  blue,  forest  green,  and  dull 
yellow  are  excellent  colors  when  combined. 
A  great  variety  of  beautiful  rugs  may  be 
made  by  using  only  blue  and  white,  and 
unless  one  wishes  to  go  extensively  into 
dyeing,  it  might  be  well  to  choose  a  certain 
simple  color  scheme  such  as  blue  and  white, 
red,  black,  and  ivory,  and  abide  by  it.  Let 
it  be  remembered  that  white  in  rugs  is  not 


62 


HAND-LOOM  IV E A  VING 


Planning 

a  color 

scheme  for 

a  rug 


white,  neither  is  it  a  delicate  cream.  Unless 
it  is  decidedly  yellowish  or  even  grayish  in 
tone,  when  in  combination  with  other  colors, 
it  becomes  a  staring  white  that  is  anything 
but  artivStic.  I  dye  my  cream  colors,  just  as 
much  as  I  do  dark  reds  or  greens. 

"  I  have  been  asked  many  times  what  is 
the  best  way  to  plan  a  color  scheme  for  a 
rug.  This  is  a  point  I  cannot  determine  for 
another.  Some  may  find  help  in  making 
water  color  sketches  of  what  they  wish  to 
do.  In  my  own  work  I  never  use  them,  as 
it  requires  making  a  reduced  drawing  of 
great  accuracy,  and  much  time  to  color  it. 
Often  I  plan  a  combination  mentally,  and 
match  it  up  from  the  dyed  flannels  I  always 
have  on  hand.  Other  times  I  vary  the 
scheme  of  some  rug  I  have  already  made, 
experimenting  with  different  combinations, 
using  other  rugs  as  if  they  were  books  of 
reference.  I  have  discovered  one  rather 
curious  thing,  which  is,  that  when  all  my 
experimenting  is  done  I  find  some  particu- 
lar color  scheme  fits  a  certain  rug  as  no  other 
does.  It  seems  to  clothe  or  to  fulfill  the 
pattern  as  if  it  belonged  personally  to  it. 
When  I  once  discover  this  elective  affinity 
of  a  pattern  for  its  special  coloring,  I  never 
make  it  again  save  in  that  one  guise. 


DIRECTIONS  FOR  DYEING 


"  Much  skill  can  be  shown  by  an  artistic 
worker  in  the  use  of  slight  shades  of  differ- 
ence in  the  same  color.  For  example,  in  the 
plain  center  of  a  rug,  several  tones  repre- 
senting shades  of  the  same  color  will  give 
the  effect  of  a  play  of  light  on  a  silky  sur- 
face, which  is  very  beautiful.  By  using 
material  that  has  been  dyed  a  trifle  darker 
at  one  end  of  the  rug,  and  working  in  grad- 
ually lighter  tones,  the  result  is  surprisingly 
effective.  To  do  this,  each  three  or  four 
yards  should  be  dyed  with  these  slight  dif- 
ferences of  tone;  then  when  within  thirty 
strips  of  the  end  of  one  color  (more  or  less, 
according  to  the  width  of  the  rug),  work  in 
a  broken  line  of  the  next  tone  all  across  the 
rug.  Then  use  a  few  rows  (not  worked  in 
single  rows,  however)  of  the  first  color  across 
the  entire  rug,  then  a  wider  broken  line  of 
the  second  color.  Broken  lines  blend  better 
than  continuous  lines  do.  The  portions  of 
the  second  line  should  fall  above  the  broken 
spaces  left  in  the  first  line  (in  the  same  way 
that  masons  lay  bricks),  then  a  little  more 
of  the  first  color,  using  less  and  less  of  it, 
and  increasing  the  width  of  the  second  in 
masses,  until  the  first  color  has  become  only 
broken  lines  upon  the  ground  of  the  second 
color.  All  the  way  through,  any  changes  of 


HAND-LOOM  IV E A  VING 


Coloring 


Dye  kettles 


Mordants 


color  should  be  merged  in  this  way.  Be 
sure  to  work  this  method  from  side  to  side 
across  the  rug,  as  the  frameful  is  filled. 

"  This  is  the  most  difficult  feature  of  the 
whole  handicraft,  the  actual  coloring,  and 
yet  for  fine  effects  I  should  recommend  only 
the  use  of  hand-dyed  materials.  Goods  dyed 
by  professional  dyers  are  perfectly  uniform 
in  color  throughout,  and  rugs  made  of  such 
material  will  have  nothing  of  that  difference 
of  tone,  that  play  of  color,  that  is  absolutely 
necessary  for  beauty. 

"In  dyeing  use  only  brass,  copper,  granite, 
or  porcelain  kettles,  unless  one  goes  into  it 
on  a  large  scale  and  uses  regular  machinery. 
Brass  and  copper  vessels  are  to  be  preferred, 
while  iron,  or  tin  showing  iron,  are  to  be 
carefully  avoided,  as  the  mordants  have  a 
great  affinity  for  iron  and  ruin  the  color.  I 
use  a  large  brass  kettle  holding  about  five 
gallons. 

"  For  mordants  I  use  Glauber  salts  and 
sulphuric  acid,  and  with  the  weight  of  cloth 
I  use,  it  takes  3  oz.  of  Glauber  salts  and  ^  oz. 
of  sulphuric  acid  (full  strength)  to  each  six 
yards  of  flannel.  I  use  a  one-ounce  Phenix 
graduate  (American  standard)  measuring 
glass,  and  as  full  strength  sulphuric  acid 
has  about  twice  the  specific  gravity  of  water, 


DIRECTIONS  FOR  DYEING 


one  should  measure  by  the  scale  engraved 
on  the  right-hand  side  of  the  glass.  The 
left-hand  scale  is  based  upon  the  standard 
unit  of  weight,  which  is  water. 

"  In  using  sulphuric  acid  I  dilute  it  in  a 
little  cold  water  in  a  cup  by  pouring  the 
acid  on  to  the  water,  as  sulphuric  acid  in 
uniting  with  water  causes  a  chemical  reac- 
tion. Where  a  large  quantity  of  acid  is 
used  this  reaction  is  accompanied  by  a  sud- 
den burst  of  steam,  if  the  water  falls  upon 
the  acid.  Biit  in  a  small  quantity  as  this, 
there  is  no  possible  danger  of  accident  if  the 
acid  is  poured  on  the  water.  Sulphuric  acid 
should  be  closely  stoppered  and  used  with 
care,  as  it  is  corrosive,  eating  holes  in  cotton 
or  linen  fabrics.  With  ordinary  precautions 
it  can  be  used  without  the  least  difficulty. 

"Glauber  salts  are  too  well  known  in  com- 
merce to  need  description,  and  are  used  to 
neutralize  the  acid.  The  two  in  combina- 
tion do  not  injure  woolen  fabrics,  but  merely 
set  the  dyes. 

"In  preparing  the  dye  bath  allow  three 
gallons  of  water,  and  y±  oz.  of  sulphuric  acid; 
stir  thoroughly  and  add  3  oz.  Glauber  salts 
to  six  yards  of  cloth.  Then  add  the  dyestuff 
in  required  proportions.  Stir  thoroughly  as 
each  ingredient  is  added,  for  the  evenness 


66 


HAND-LOOM  WEAVING 


Coloring 
depends  on 
tempera- 
ture 


of  the  dye  depends  upon  the  thorough  dis- 
tribution of  the  mordants  and  color  in  the 
dye  bath.  Generally  it  is  advised  to  strain 
the  dye  before  it  is  added,  but,  as  an  even 
tone  is  not  the  desired  result  for  this  special 
handicraft,  I  never  follow  this  suggestion. 

"The  proper  temperature  for  introducing 
the  color  in  the  bath  is  not  over  150°  F.,  but 
if  one  has  not  a  bath  thermometer,  the  tem- 
perature must  be  very  hot,  yet  far  below 
boiling  point.  Temperature  plays  a  great 
part  in  dyeing,  for  if  the  dye  bath  is  too  hot 
when  the  cloth  is  introduced,  the  dye,  hav- 
ing a  great  avidity  for  wool,  will  be  absorbed 
unequally  by  the  cloth,  the  ends  arid  outside 
folds  of  the  cloth  absorbing  more  color  than 
is  desired,  and  the  inner  folds  will  have  less. 
I  am  not  discussing  the  process  of  dyeing 
as  it  should  be  done  on  a  large  scale  with 
vats  and  suitable  reels,  etc.,  but  as  it  is  likely 
to  be  done  by  an  amateur,  in  a  small  way. 
When  the  bath  is  too  hot,  the  cloth  takes 
the  dye  unequally  and  is  quite  spotted.  A 
little  irregularity  is  necessary  for  a  play  of 
color,  but  it  should  be  secured  in  a  definite 
way  and  only  to  a  certain  degree,  and  not 
as  the  result  of  accident.  If  the  cloth  has 
come  out  spotty,  it  may  be  redipped,  having 
added  more  dye  and  mordants  to  the  bath, 


DIRECTIONS  FOR  DYEING 


but  it  will  come  out  a  darker  shade.  If  the 
bath  is  anywhere  near  the  boiling  point 
before  the  cloth  is  dipped,  reduce  it  by  add- 
ing a  quart  or  two  of  cold  water." 

Before  dyeing  yarn  or  raffia,  bind  the 
skeins  loosely  in  several  places  to  prevent 
tangling.  "  Having  prepared  the  bath,  gather 
the  cloth  in  the  right  hand  at  half  a  dozen 
places  along  one  selvedge,  and  drop  it  in, 
spreading  it  at  once,  using  two  stout  sticks, 
lifting  it  up  and  down  continually  so  as  to 
expose  all  parts  to  the  dye.  The  tempera- 
ture should  be  increased  to  the  boiling  point 
and  continued  for  three-quarters  of  an  hour. 
Then  lift  the  cloth  up  and  drain  it,  then 
rinse  in  cold  water,  wring  dry,  but  do  not 
press  with  an  iron,  as  the  soft  wooly  texture 
is  very  desirable.  When  a  quantity  of  the 
same  color  is  desired,  the  same  water  can  be 
used  again  by  adding  acid  and  Glauber  salts, 
together  with  more  dyestuff  with  each  fresh 
dip  of  cloth.  It  must  be  stated,  however, 
that  the  color  will  not  be  so  clear  with  suc- 
ceeding dips,  but  that  does  not  matter,  as  a 
difference  is  desired.  The  process  of  dyeing 
is  very  delicate,  and  the  utmost  precision 
must  be  observed  in  following  proportions 
and  directions  regarding  temperature,  etc. 
Dyeing  is  more  successful  in  clear  weather 


68 


HAND-LOOM  WEAVING 


than  on  rainy  days,  and  soft  water  is  required 
to  get  good  results.  If  water  contains  much 
lime  or  earthy  salts  it  is  unfit  for  dyeing, 
and  must  be  neutralized  by  acetic  acid.  In 
such  cases  it  would  be  still  better  to  use 
rain  water. 

"  There  is  a  curious  conviction  prevailing 
in  some  quarters  that  beautiful  durable  colors 
are  obtainable  only  from  vegetable  dyes.  My 
first  experiments  were  with  barks,  mosses, 
etc.,  but  the  difficulty  of  getting  them,  the 
enormous  amount  necessary  to  dye  any  quan- 
tity of  goods,  the  tedious  process  in  their 
use,  and  the  fact  that  after  all  only  .a  narrow 
range  of  colors  is  obtainable  from  them, 
compelled  me  to  abandon  them  altogether. 
I  began  to  investigate  chemical  dyes,  and  to 
gain  information  I  applied  to  one  of  the 
largest  woolen  mills  in  New  England,  one 
which  maintains  a  high  reputation  for  the 
class  of  goods  it  manufactures;  also  to  two 
wholesale  houses  dealing  in  all  kinds  of 
dyestuffs;  and  finally  to  one  of  the  best 
experts  in  color  in  the  country.  Their 
verdict  was  unanimous,  and  is  summed  up 
in  the  opinion  of  the  expert  which  he  ex- 
pressed in  a  letter  to  me  on  this  question : 

"  '  In  regard  to  the  use  of  vegetable  dyes,  I 
would  say  that  they  have  almost  disappeared 


DIRECTIONS  FOR  DYEING 


from  commerce,  certainly  for  the  purpose  of 
dyeing  fabrics. 

'"We  know,  of  course,  that  there  are 
strong  prejudices  still  existing  in  the  lay- 
man's mind  in  regard  to  the  use  of  aniline 
colors,  who  supposes  that  they  are  not  only 
fugitive,  but  that  the  resulting  tones  are 
harsh  and  unattractive.  This,  unfortunately, 
was  so  twenty-five  years  ago,  and  the  impres- 
sion made  then  upon  the  layman's  mind  has 
not  been  changed  during  all  these  years; 
but  I  can  assure  you  that  all  the  beautiful 
silk  goods,  tapestries,  cloths,  and  all  the 
colors  which  we  see  in  fabrics  to-day,  are 
made,  without  exception,  from  aniline  col- 
ors, which  are  immeasurably  more  perma- 
nent than  are  the  vegetable  dyes  used  up  to, 
say,  1875.' 

"In  using  my  range  of  eight  colors  I  pro- 
vide myself  with  large,  strong  glass  bottles 
in  which  I  keep  my  diluted  colors.  I  use  a 
pint  measure  for  diluting  the  dyes.  In  pre- 
paring the  fluid  I  put  one  half  or  one  quar- 
ter of  an  ounce  of  dry  color,  whichever 
amount  the  formula  calls  for,  into  the  pint 
measure  and  mix  it  thoroughly  with  a  little 
cold  water.  The  reason  for  using  cold  water 
is  that  the  dyes  are  a  tar  product,  and  if 
mixed  with  hot  water  first,  they  are  apt  to 


HAND-LOOM  WEA  VING 


grow  waxy  under  the  heat  and  not  dissolve 
readily.  Having  dissolved  them,  I  fill  up 
the  measure  with  hot  water,  stirring  all  the 
time.  This  makes  a  pint  of  liquid  which  is 
of  uniform  strength  under  all  circumstances, 
and  every  formula  is  based  upon  this  invari- 
able pint  measure  of  water.  These  formulas 
I  have  tried  over  and  over  again.  They  are 
made  with  special  reference  to  the  grade  of 
flannel  I  have  adopted,  and  doubtless  will 
vary  in  results  if  used  on  other  weights  or 
weaves  of  wool  goods." 


NO. 

Dissolve 
water. 
Dissolve 


DYE   FORMULAS 
I.     DARK   TERRA   COTTA 

&  oz.  of  dull  red  in  i  pint  of 
±  oz.  of  green  in  i  pint  of  water. 


Take  full  pint  measure  of  dull  red  dye 
and  4  tablespoonfuls  of  green  dye  to  6  yds. 
of  cloth. 

Mordants :  ^  oz.  sulphuric  acid  and  3  oz. 
Glauber  salts.  Boil  y±  of  an  hour. 

NO.    2.      FULL   TERRA   COTTA 

Dissolve  y>  oz.  of  dull  red  in  i  pint  of 
water. 

Use  full  pint  measure  of  dull  red  dye  to  6 
yds.  of  cloth. 


DIRECTIONS  FOR  DYEING 


Mordants :  ^  oz.  sulphuric  acid  and  3  oz. 
Glauber  salts. 

NO.    3.      LIGHTER   TERRA   COTTA 

Dissolve  y2  oz.  of  dull  red  in  i  pint  of 
water. 

Use  22  tablespoonfuls  of  dull  red  dye  to 
6  vds.  of  cloth. 

j 

Mordants :  ^  oz.  sulphuric  acid  and  3  oz. 
Glauber  salts. 

NO.   4.      RICH   OLD    RED 

Dissolve  y2  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  j£  oz.  of  green  in  i  pint  of  water. 

Use  24  tablespoonfuls  of  dull  red  dye  and 
3  tablespoonfuls  of  green  dye  to  6  yds.  of 
cloth. 

Mordants:     Same  as  No.  i. 

NO.    5.      DULL   OLD    ROSE 

Dissolve  y±  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  y±  oz.  of  bright  blue  in  i  pint  of 
water. 

Dissolve  y^  oz.  of  dull  yellow  in  i  pint  of 
water. 

Use  1 6  tablespoonfuls  of  dull  red  dye,  and 
i  tablespoonful  of  bright  blue  dye,  and  3 


HAND-LOOM  IV E A  VING 


tablespoonfuls  of  dull  yellow  dye  to  6  yds. 
of  cloth. 

Mordants:     Same  as  in  No.  i. 

NO.   6.      OLD    PINK 

Dissolve  ^  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  %  oz.  of  dull  yellow  in  i  pint  of 
water. 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Use  6  tablespoonfuls  of  dull  red  dye,  and 
3  tablespoonfuls  of  dull  yellow  dye,  and  i  y2 
teaspoonfuls  of  dark  blue  dye  to  6  yds.  of 
cloth. 

Mordants :     Same  as  in  No.  i . 

NO.    7.      FULL   YELLOW 

Dissolve  y±  oz.  of  bright  yellow  in  i  pint 
of  water. 

Dissolve  y±  oz.  of  dull  yellow  in  i  pint  of 
water. 

Dissolve  y±  oz.  of  green  in  i  pint  of  water. 

Use  6  tablespoonfuls  of  bright  yellow  dye, 
and  5  tablespoonfuls  of  dull  yellow  dye,  and 
2  tablespoonfuls  of  green  dye  to  6  yds.  of 
cloth. 

Mordants:     Same  as  in  No.  i. 


DIRECTIONS  FOR  DYEING 


NO.  8.      RICH   DULL   YELLOW 

Dissolve  y±  oz.  of  bright  yellow  in  i  pint 
of  water. 

Dissolve  y±  oz.  of  dull  red  in  i  pint  of 
water. 

Use  12  tablespoonfuls  of  yellow  dye  and 
6  tablespoonfuls  of  dull  red  dye  to  6  yds.  of 
cloth. 

Mordants:     Same  as  in  No.  i. 

NO.  9.      DARK   TAN   YELLOW 

Dissolve  y±  oz.  of  dull  yellow  in  i  pint  of 
water. 

Use  14  tablespoonfuls  of  dull  yellow  dye 
to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  i. 

NO.   10.      LIGHT   OLIVE   TAN 

Dissolve  %  oz.  of  bright  yellow  in  i  pint 
of  water. 

Dissolve  y±  oz.  of  dull  yellow  in  i  pint  of 
water. 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Use  6  tablespoonfuls  of  bright  yellow 
dye,  4  tablespoonfuls  of  dull  yellow  dye,  \l/2 
tablespoonfuls  of  dark  blue  dye  to  6  yds.  of 
cloth. 

Mordants :     Same  as  in  No.  i. 


74 


HAND-LOOM  IV E  A  VING 


.NO.   II.      OLD    IVORY 

Dissolve  *4  oz.  of  bright  yellow  in  i  pint 
of  water. 

Dissolve 

Dissolve 
water. 

Use  i  teaspoonful  of  yellow  dye,  and  i 
teaspoonful  of  drab  dye,  and  y±  teaspoonful 
of  dull  red  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  i. 


oz.  of  drab  in  i  pint  of  water. 
oz.  of  dull  red  in  i  pint  of 


NO.   12.      RICH   NAVY   BLUE 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Use  full  pint  measure  of  dark  blue  dye 
to  6  yds.  of  goods. 

Mordants:  i  oz.  sulphuric  acid,  3  oz. 
Glauber  salts.  Boil  i  hour. 


DARK    PERSIAN   BLUE 

oz.  of  dark  blue  in  i  pint  of 


NO.  13 

Dissolve  i 
water. 

Dissolve  y±  oz.  of  green  in  i  pint  of  water. 

Use  10  tablespoonfuls  of  dark  blue  dye,  6 
tablespoonfuls  of  green  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  12. 

NO.  14.      GOBELIN    BLUE 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 


DIRECTIONS  FOR  DYEING 


Dissolve  %  oz.  of  green  in  i  pint  of  water. 
Use  6  tablespoonfuls  of  dark  blue  dye,  4 
tablespoonfuls  of  green  dye  to  6  yds.  of  cloth. 
Mordants:     Same  as  in  No.  12. 

NO.  15.      LIGHT   GRAY   BLUE 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Dissolve  y^  oz.  of  green  in  i  pint  of  water. 

Use  3  tablespoonfuls  of  dark  blue  dye,  2 
tablespoonfuls  of  green  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  12. 


LIGHT   SAGE   GREEN 


oz.  of  green  in  r  pint  of  water. 
oz-  °f  bright  yellow  in  i  pint 


oz- 


dull 


NO.  1  6. 

Dissolve 

Dissolve 
of  water. 

Dissolve 
water. 

Use  10  tablespoonfuls  of  green  dye,  2 
tablespoonfuls  of  bright  yellow  dye,  and  i  ^ 
tablespoonfuls  of  dull  red  dye  to  6  yds.  of 
cloth. 

Mordants:     Same  as  in  No.  i. 

NO.  I/.      LIGHT   OLIVE 

Dissolve  y±  oz.  of  green  in  i  pint  of  water. 
Dissolve  *4  oz-  °f  bright  yellow  in  i  pint 
of  water. 


HAND-LOOM  WEAVING 


Dissolve   J^   oz-  °f  dull  red  i11  l 
water. 

Use  1  6  tablespoonfuls  of  green  dye,  4 
tablespoonfuls  of  bright  yellow  dye,  and  3 
tablespoonfuls  of  dull  red  to  6  yds.  of  cloth. 

Mordants  :     Same  as  in  No.  i  . 


NO.  18.      DARK   MOSS   GREEN 

Dissolve  2  level  teaspoonfuls  of  green  in 
i  pint  measure  of  water. 

Dissolve  j£  oz.  of  bright  yellow  in  i  pint 
of  water. 

Use  full  pint  measure  of  green  dye  and 
15  tablespoonfuls  of  bright  yellow  dye  to  6 
yds.  of  cloth. 

Mordants  :  3  oz.  of  Glauber  salts  and  i  oz. 
of  sulphuric  acid.  Boil  ^  of  an  hour. 


NO.  IQ.      GOLDEN   BROWN 

Dissolve  y±  oz.  of  dull  yellow  in  i  pint  of 
water. 

Dissolve  j£  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  J^  oz.  of  green  in  i  pint  of  water. 

Use  20  tablespoonfuls  of  dull  yellow  dye, 
5  tablespoonfuls  of  dull  red  dye,  15  table- 
spoonfuls  of  green  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  18. 


DIRECTIONS  FOR  DYEING 


77 


NO.  20.      DARK   BRONZE 


oz.  of  dull  red  in  i  pint  of 
i  oz.  of  dark  blue  in  i  pint  of 


Dissolve  y±  oz.  of  green  in  i  pint  of  water. 

Dissolve 
water. 

Dissolve 
water. 

Dissolve  y±  oz.  of  bright  yellow  in  i  pint 
of  water. 

Use  8  tablespoonfuls  of  green  dye,  12 
tablespoonfuls  of  dull  red  dye,  4  tablespoon- 
fuls of  dark  blue  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  18. 

Redip  in  4  tablespoonfuls  of  green  dye 
and  5  tablespoonfuls  of  bright  yellow  dye. 

Mordants  :     Repeat  the  one  above. 

"  These  formulas  can  be  taken  as  the  basis 
of  many  other  tones  and  shades  which  can 
be  secured  by  a  slight  alteration  of  propor- 
tions. By  adding  a  trifle  more  dull  red, 
green,  indigo,  or  drab  liquid  dyes,  a  color 
can  be  darkened.  By  using  less  of  these 
than  the  formulas  call  for,  the  colors  will  be 
lighter.  By  using  more  of  dull  or  bright 
yellow  a  color  can  often  be  made  richer  with- 
out darkening  it.  Beginners  are  cautioned 
against  making  changes  until  they  become 
familiar  with  the  dyes.  In  making  new 
experiments,  try  them  on  yard  lengths, 


HAND-LOOM  WEAVING 


carefully  subdividing  any  given  formula  for 
both  dyes  and  mordants,  and  increasing  the 
proportion  of  any  particular  color  desired. 
If  the  cloth  should  fail  to  take  up  the  dye 
properly  after  boiling  the  full  time,  increase 
the  quantity  of  acid,  lifting  the  cloth  out 
when  adding  the  acid  to  the  dye  bath." 

Excellent  suggestions  by  Mrs.  Albee  for 
color  schemes  in  stripes  may  be  found  on 
pages  64  and  65. 

[Mrs.  Albee  is  prepared  to  furnish  any  of 
the  foregoing  dyes  at  20  cents  an  ounce.  Her 
address  is  Mrs.  Helen  R.  Albee,  Pequaket, 
Silver  Lake  P.  O.,  N.  H.] 


METHODS  OF  SPLICING 


METHODS  OF  SPLICING  MATERIALS 
FOR  WEAVING 

CUCH  materials  as  carpets  and  oriental 
wools,  fine  worsteds,  carpet  ravelings, 
darning  and  knitting  cotton  should,  in  splic- 
ing, be  run  past  each  other.  In  weaving, 
run  the  wool  through  the  warp  to  the  very 
end.  Start  the  new  piece  a  few  warp  threads 
back  (about  an  inch),  being  careful  to  go 
over  and  under  exactly  the  same  warp 
threads  as  when  finishing  the  end.  As  you 
pass  these  threads  you  will  find  you  are 
taking  up  the  right  warp  threads,  and  that 
no  mistake  has  been  made.  It  is  best  to  run 
the  threads  past  each  other  in  the  middle  of 
the  mat  rather  than  on  the  sides.  The  chil- 
dren learn  this  method  of  splicing  very 
quickly  and  the  result  is  much  more  satis- 
factory than  knotting,  because  the  back  of 
the  rug  or  mat  will  be  smooth.  As  Mrs. 
Wiggins  says:  "There  should  never  be  a 
wrong  side  to  work  any  more  than  there 
should  be  to  folks." 

In   splicing  such   materials  as  silkoline, 
rags,  candle-wicking,  chenille,  and  macreme 


8o 


HAND-LOOM  WE  A  VING 


cord,  lay  the  end  of  one  piece  over  another, 
each  lapping1  about  one-quarter  inch,  and  sew 
securely  with  silk  or  thread  of  like  color. 
Cut  off  the  selvedge  ends  of  rags.  These 
strips  can  be  run  past  each  other,  but  the 
work  will  not  be  so  smooth. 

In  splicing  Germantown  wool,  heavy  wor- 
steds, or  rope  silk,  thread  a  worsted  needle 
with  one  strand  obtained  by  unwinding  the 
wool  or  silk,  lay  one  end  over  the  other,  and 
sew  over  and  over.  Twist  the  part  just  sewn 
between  the  thumb  and  finger  and  the  splic- 
ing will  be  hardly  visible. 

When  weaving  stripes,  splice  the  wool  so 
that  the  piecing  will  come  on  top  of  the  rod. 
In  this  way  the  new  color  will  start  at  the 
edge  of  the  rug,  as  it  should,  and  the  number 
of  loops  on  the  rod  will  be  the  same  on  each 
side.  Consider  the  under  side  of  the  weaving 
as  the  right  side.  It  is  always  smoother  and 
cleaner,  and  the  splicing  can  be  done  more 
neatly  on  top  of  the  rod. 

Splicing  raffia  is  the  most  difficult  of  all, 
and  the  method  used  in  braiding  and  basket 
weaving  is  the  best.  As  you  near  the  end  of 
a  strip  in  weaving  it  usually  becomes  nar- 
rower Find  another  strip  having  a  narrow 
end,  and  place  one  over  the  other,  securing, 
if  necessary,  by  winding  a  very  narrow  piece 


METHODS  OF  SPLICING 


81 


-just  a  thread  torn  from  a  long  piece  —  and 
fastening  this  by  sewing  a  few  times  over 
and  over.  Or,  the  two  narrow  ends  may  be 
run  past  each  other,  as  in  carpet  ravelings. 
Care  should  be  taken  to  have  the  splicing  the 
same  width  as  the  other  parts  of  the  weav- 
ing, so  that  the  spliced  parts  will  not  be 
noticeable. 

Leather,  leatherette,  and  celluloid  strips 
should  be  long  enough  to  extend  the  entire 
width  and  length  of  the  frame  without  splic- 
ing. The  ends  can  be  cut,  as  is  done  in 
paper  weaving,  or  turned  in  some  pretty 
way  like  that  in  the  splint  work. 

The  neatest  way  to  splice  chenille  is  to 
tie  it.  Pick  off  the  bits  of  chenille  from  the 
fine  threads  which  run  through  the  center 
of  it.  Then  tie  to  the  new  piece  which  has 
been  similarly  treated,  making  a  double  knot 
close  up  to  the  chenille.  Cut  off  the  fine 
ends,  but  not  too  close.  This  makes  a 
strong,  invisible  splicing. 


82 


HAND-LOOM  WE  A  VING 


RUG  AND  MAT  WEAVING 

account  of  adjustability  both  ways, 
the  Perfection  Loom  is  preferable  for 
rug  and  mat  weaving.  Little  folks  weary 
of  a  rug  9x12  inches  before  it  is  finished. 
A  rug  7x10  inches  does  not  require  as 
much  time  or  material,  and  it  usually  fits 
the  doll  house  better.  Bordered  rugs  can 
be  woven  equally  well  on  any  of  the  looms, 
as  all  have  perforations  for  the  extra  rods 
which  are  to  keep  the  center  straight. 

The  simplest  rug  for  a  child  to  make  is 
one  with  a  plain  center  and  end  borders. 
These  may  be  of  a  darker  tone  than  the 
center  of  variegated  chenille,  if  that  be  the 
material  used,  black,  or  two  or  three  tones 
of  a  contrasting  color.  Rugs  with  stripes 
should  follow  next.  For  the  first  one,  alter- 
nate the  body  color  with  one  contrasting 
color.  For  instance,  a  rug  of  tan  color 
might  have  a  stripe  of  pale  blue,  brown,  or 
dark  green,  near  each  end — not  a  solid 
stripe  of  the  chosen  color,  but  alternated 
with  the  tan  color.  (See  rugs,  page  158.) 


RUG  AND  MAT  WE  A  V1NG 


Care  should  be  taken  to  have  the  same 
number  of  loops  of  a  color  on  each  rod. 

The  next  step  would  be  stripes  composed 
of  several  colors,  without  any  attempt  at  de- 
sign. It  is  well  to  separate  these  stripes 
from  the  body  of  the  rug  with  black  or  old 
gold  ;  or,  in  the  case  of  light  colors,  with 
white  or  tan.  A  good  effect  is  obtained  by 
toning  the  stripe  from  shades  on  the  out- 
side to  tints  in  the  center.  When  a  child 
has  acquired  some  skill  in  weaving  and  can 
weave  a  simple  rug  well,  he  may  draw  and 
color  simple  designs  and  weave  a  more 
elaborate  rug. 

Squared  paper  in  one  inch,  one-half  inch, 
and  one-quarter  inch  can  be  obtained  in 
school  supply  stores.  The  one-inch  paper 
is  best  for  demonstrating  patterns  to  the 
class.  The  children  can  copy  the  teacher's 
patterns  with  one-inch  tablets  laid  on  the 
desks  or,  better  still,  on  the  squared  paper. 
After  some  practice  of  this  kind  let  them 
color  the  pattern  with  crayons  or  water 
colors,  and  fill  in  the  background. 

To  prepare  a  pattern  for  weaving  use 
the  one-quarter  inch  squared  paper,  as  the 
warp  strings  are  about  that  width  apart.  En- 
courage the  children  to  invent,  some  simple 
pattern  with  the  tablets.  They  will  readily 


84 


HAND-LOOM  WE  A  VING 


see  that  a  tablet  will  cover  sixteen  of  the 
quarter  inches,  and  it  will  be  easy  to  draw 
and  color  the  pattern,  which  should  then  be 
pasted  upon  stiff  cardboard.  After  a  few 
woof  threads  have  been  woven  at  top  and 
bottom  of  the  loom,  baste  the  pattern  to 
them  on  the  under  side.  It  is  better  to 
weave  the  outer  edges  of  the  rug  first,  as 
the  rods  help  to  keep  the  whole  pattern 
straight.  After  this  is  done,  begin  the  cen- 
ter and  join  to  the  other,  weaving  by  pass- 
ing the  woof  thread  through  the  loop  on 
the  warp  thread.  Some  prefer  to  weave 
with  two  or  three  needles  straight  across 
the  loom,  looping  one  color  into  the  other. 
Care  should  be  taken  to  keep  the  warp 
strings  straight  and  the  weaving  smooth. 

These  designs  can  be  drawn  and  colored 
in  the  regular  drawing  lessons  in  the  upper 
grades  and  sent  to  the  primary  classes  to  be 
woven  in  the  rugs,  thus  fostering  a  commu- 
nity spirit  in  the  school. 

Rug  yarns  should  always  be  broken  —  not 
cut.  Cutting  wool  leaves  a  blunt  end  which 
is  always  unpleasantly  visible.  Begin  the 
weaving  at  the  bottom  of  the  loom  and  leave 
several  inches  of  wool  to  run  up  the  loops  at 
the  side  of  the  rug  when  the  rod  is  drawn 
out.  As  you  continue  to  weave,  break  the 


RUG  AND  MA  T  WEA  VING 


wool  near  the  center  of  the  loom,  weaving 
to  the  end  of  the  thinnest  part.  Splicing 
should  be  done  by  "running  by,"  as  de- 
scribed in  the  chapter  "  Methods  of  Splicing 
Materials  for  Weaving."  Stripes  should  be 
placed  at  a  short  distance  from  each  end, 
varying  from  three  fourths  to  one  and  one- 
half  inches  according  to  the  size  of  the  rug. 
These  plain  ends  are  woven  with  the  same 
color  as  the  body  of  the  rug.  If  desired, 
these  stripes  may  occur  at  regular  intervals 
through  the  entire  rug.  Different  colors  in 
stripes  should  be  spliced  near  the  center  of 
the  rug  and  not  near  the  rods,  where  the  ends 
might  work  out.  Weave  through  the  first 
set  of  stripes,  then  turn  the  loom  around 
and  weave  the  same  at  the  other  end.  Fin- 
ish by  weaving  from  one  set  of  stripes  to 
the  other  Always  push  the  woof  toward 
you.  Be  sure  to  have  the  children  pack  the 
woof  threads  close  to  the  head  and  foot  of 
the  loom,  to  allow  for  pushing  the  woof 
back  to  the  ends  of  the  warp  threads  when 
the  rug  is  removed.  Almost  all  children 
pack  too  tightly  in  the  center  of  the  rugs. 
The  latter  are  much  smoother  and  prettier 
if  the  woof  threads  lie  close  together  with- 
out crowding.  The  warp  strings  should 
always  be  entirely  covered.  Caution  the 


HAND-LOOM  WEAVING 


children  about  pulling  the  material  too 
tightly  across  the  loom.  It  should  lie  easily 
around  the  rods.  Be  sure  to  have  the  warp 
strings  straightened,  either  with  the  fingers 
or  a  coarse  comb,  each  time  the  child  weaves 
across  the  loom.  The  warp  threads  must 
not  be  allowed  to  creep  toward  the  center  of 
the  rug.  Before  removing  the  rug  from 
the  loom,  shear  off  all  the  loose  ends  and 
roughness  by  holding  the  left  hand  under 
the  rug  and  pushing  it  up  close  to  the 
shears.  Then  brush  with  a  stiff  brush. 
Draw  out  the  rods  and  lift  the  rug  from  the 
loom.  Push  back  the  woof  threads  to  the 
ends  of  the  warp.  Measure  your  stripes 
across  the  rug  to  be  sure  that  they  are  exact. 
All  weaving  is  improved  by  pressing.  Use 
a  warm,  not  hot,  iron  and  press  between 
woolen  cloths  to  avoid  the  "shine."  The 
under  side  of  the  weaving  is  the  right  side. 

Bordered  rugs  are  interesting  and  the 
children  delight  in  making  them.  Adjust 
the  loom  for  the  size  required  and  decide 
how  wide  the  border  is  to  be.  For  a  rug 
9x12  inches  it  should  be  two  inches  wide, 
and  one  inch  wide  for  a  rug  7x10  inches. 
It  is  necessary  to  have  an  extra  pair  of  rods 
for  the  center,  if  one  desires  a  smooth  and 
well  finished  rug.  The  blunt  steel  weaving 


RUG  AND  MAT  WE  A  VlNG 


needle  should  be  used  for  bordered  rugs. 
Weave  the  border  at  the  foot  of  the  loom. 
This  extends  the  entire  width.  The  meas- 
ure for  the  border  should  include  the  head 
and  foot  pieces  of  the  loom,  as  the  woof  is 
to  be  pushed  back  to  the  ends  of  the  warp 
strings  when  the  rug  is  finished.  Turn 
the  loom  around  and  weave  the  border 
at  the  other  end  You  will  now  have  the 
ends  of  the  rug  woven.  Place  the  extra 


HAND-LOOM  WEAVING 


rods  behind  these  borders  and  through  the 
perforations  for  the  required  width  of  the 
side  borders.  These  rods  outline  the  oblong 
for  the  center  of  the  rug  and  serve  to  keep 
it  straight.  Weave  the  right  and  left  borders 
around  both  rods  as  usual,  until  they  meet 
those  at  the  top  and  bottom  of  the  loom. 
The  whole  border  is  now  finished  and  the 
center  may  be  woven.  Begin  at  the  bottom 
of  the  oblong  and  as  you  come  to  the  border 
on  each  side,  run  your  steel  needle  through 
the  loops  which  are  around  the  rod,  but  do 
not  go  around  the  rod  itself,  since  doing 
so  would  make  a  ridge  in  the  rug.  It  is  a 
good  plan  to  hold  the  loop  open  with  a  large 
pin,  then  draw  the  woof  threads  tightly  and 
firmly  through  it,  so  that  the  work  will  be 
flat  and  smooth  when  removed  from  the  loom. 
These  rugs  are  very  beautiful  and  can  be 
made  in  an  infinite  variety  through  the  use  of 
different  colors  and  materials  and  by  revers- 
ing the  center  and  border.  They  are  especi- 
ally attractive  made  of  chenille  in  two  tones 
of  a  color,  or  with  plain  center  and  mot- 
tled border  or  vice  versa.  In  the  latter 
case,  select  one  of  the  colors  in  the  mottled 
chenille  for  the  center  of  the  rug  Carpet 
yarns,  Germantown  wool,  Navajo  yarns,  silk- 
oline,  cotten  roving,  or  jute  may  be  used. 


RUG  AND  MAT  IV E A  VING 


These  little  rugs  are  useful  on  the  tele- 
phone table  to  set  the  telephone  upon,  or  as 
"heel  rugs"  under  the  piano  pedals  to  pro- 
tect the  carpet  from  the  pressure  of  the  heel. 

The  community  idea  can  be  carried  out 
in  various  ways.  Let  the  children  of  the 
lower  grades  weave  plain  rugs  of  jute,  raffia, 
carpet  yarn,  or  other  material  and  send 
them  to  the  Domestic  Art  classes.  Suit- 
able designs  can  be  prepared  during  some 
regular  period  of  work  and  stencilled  at 
another.  Applied  art  affords  greater  pleas- 
ure than  merely  posting  the  design  in  an 
exhibit,  and  the  larger  experience  is  most 
beneficial.  A  number  of  these  small  rugs 
can  be  woven  of  the  same  color,  sewn  to- 
gether to  form  a  large  rug  or  table  cover, 
and  then  stencilled  in  one  or  more  colors. 
The  sewing  can  be  done  during  the  regular 
sewing  lesson.  These  rugs  are  often  made 
for  the  school,  office  or  hall.  Sometimes 
they  are  sold  at  some  bazaar  and  the  pro- 
ceeds used  to  buy  something  for  the  school. 

The  rug  shown  in  the  illustration  on 
page  90  was  woven  by  fifty-four  children 
in  second  grade.  It  required  fifty-four  rugs, 
6x12  inches,  of  which  twenty-four  were  old 
rose,  twelve  were  gray-green,  and  eighteen 
were  mixed,  half  old  rose  and  half  gray- 


HAND-LOOM  WEAVING 


green.  The  method  of  piecing  the  strips 
together  is  very  simple.  Each  strip  should 
be  carefully  pressed,  then  placed  side  by 
side  with  others  on  a  table  or  other  flat 
surface.  Use  warp  or  linen  thread  and  a 
blunt  steel  weaving  needle.  Run  the  needle 
through  a  few  loops  in  one  strip,  catch  the 
warp  string  which  passes  through  them, 
then  cross  to  the  opposite  strip  and  do  the 


R  UG  AND  MA  T  IV E A  VING 


same.  After  the  strips  are  sewn  together 
the  large  rug  should  be  carefully  pressed. 

Long  strips  woven  with  a  continuous 
warp,  as  described  in  the  chapter  on 
"Methods  of  Stringing  Warp,"  can  be  sewn 
together  for  large  rugs  or  table  covers. 

The  children's  weaving  should  be  kept 
in  bags  furnished  with  a  draw-string  and 
marked  with  the  child's  name.  Materials 
sufficient  to  weave  the  mat  or  rug,  needles, 
and  if  possible  a  pair  of  scissors  should  be 
kept  in  the  bag,  which  should  be  hung  on  the 
child's  nail  in  the  wardrobe.  If  the  period 
for  industrial  work  is  at  the  beginning  of  a 
session,  it  will  be  easy  to  bring  the  bag  to  the 
desk  when  entering  the  room ;  at  other  times, 
the  children  could  march  through  the  ward- 
robe and  get  the  bags.  This  always  saves 
work  on  the  part  of  the  teacher  or  monitors. 

On  the  small  looms  the  long  wooden  nee- 
dles can  be  used  instead  of  a  heddle  to  raise 
the  warp  threads.  Run  one  needle  through 
the  warp,  turn  it  on  edge  to  raise  the  shed, 
as  it  is  called,  then  pass  another  needle  with 
the  woof  thread  through  the  open  shed. 
Old-country  weavers  wind  little  skeins 
around  the  thumb  and  little  finger,  and 
weave  by  passing  these  through  the  warp 
threads  instead  of  using  a  needle.  In  this 


HAND-LOOM  WEAVING 


A  Navajo 
rug- 


way  little  splicing  is  needed.  These  little 
skeins  ean  be  seen  in  illustration  of  square 
loom.  (See  illustration  of  Pillow  Loom, 
page  19.) 


HAMMOCKS 


93 


HAMMOCKS 

TTAMMOCKS    of    four    lengths   may    be 
made  on  the   Perfection    Loom,  or  of 
one  length  on  the  Ham- 
mock Loom  Board. 

The  old  pasteboard 
forms  are  no  longer  used 
for  three  reasons:  first,  it 
is  difficult  to  weave  a  good 
hammock  upon  them,  as 
the  pasteboard  is  easily 
broken ;  second,  it  entails 
too  much  work  on  the 
teacher  to  prepare  them ; 
third,  it  is  a  waste  of 
material,  as  the  form 
can  be  used  only  once. 
The  Hammock  Loom 
Board  (see  illustration 
on  page  95)  has  taken 
the  place  of  these  old  pasteboard  forms. 
The  Perfection  Loom  with  its  curved  ends 
is  preferable,  as  it  is  adjustable  both  ways, 
the  rods  keep  the  edges  straight,  and  it  can 


Perfection 
Loom  with 
hammock 
attach- 
ment 


HAND-LOOM  WEAVING 


be  used  for  rugs  as  well  as  for  hammocks. 

The  best  material  for  hammocks  is  soft 
macreme  cord  No.  12,  although  single  jute 
can  be  used.  Stripes  of  one  or  more  colors 
can  be  woven  at  each  end,  or  at  intervals 
through  the  hammock.  A  gray,  white,  or 
tan  ground  with  gay  Roman  stripes  at  inter- 
vals, makes  an  attractive  hammock.  By 
weaving  two  colors  alternately,  the  stripes 
will  be  lengthwise  ;  if  two  colors  are  alter- 
nated several  times,  then  the  last  color  re- 
peated, the  result  is  small  squares.  A  very 
pretty  hammock  can  be  made  by  stringing 
the  warp  of  different  colors  in  order  to  make 
lengthwise  stripes.  Use  a  neutral  color  for 
the  woof.  The  different  colors  in  such  a 
warp  should  be  spliced  carefully  by  laying 
one  end  of  the  cord  over  the  other  and  sew- 
ing with  silk  or  cotton  of  the  same  color. 
One  strand  of  the  cord  can  be  used  for  this 
purpose.  The  change  in  color  should  be 
made  just  below  the  rings,  where  the  weav- 
ing at  that  point  will  conceal  the  splicing. 
Weaving  two  woof  cords  at  the  same  time 
gives  a  pretty  basket  weave.  These  can  be 
alternated  in  the  same  way  as  the  single 
cords,  making  lengthwise  stripes  or  squares. 

Two  rings  are  required  for  each  ham- 
mock— the  one-inch  size  for  hammocks 


HAMMOCKS 


Back  of  loom,  showing  method  of  string-         Front  of  Hammock  Loom  Board 
ing  zvarp  through  rings  for  hammock  after  warp  is  strung 

woven  on  the  loom  and  five-eighths  or  three- 
quarter  inch  for  use  on  the  loom  board. 
These  rings  should  be  of  the  best  quality,  as 
the  cheaper  ones  pull  out  of  shape  during 
the  weaving.  Use  a  blunt  steel  weaving 
needle. 

The  length  of  warp  required  for  ham- 
mocks woven  upon  the  Perfection  is  thirty- 
two  yards  for  a  9  x  1 2  hammock,  and  twenty- 
two  yards  for  a  7  x  10  hammock.  Hammocks 
woven  upon  the  loom  board  require  eleven 
and  one-half  yards  for  the  warp.  A  good 
way  to  measure  warp  is  to  use  a  yard  ruler 
notched  at  both  ends.  After  winding  the 


Length  of 

ivarp 


Directions 

for  making 

hammocks 

on 

Perfection 

Loom 


Hoiv  to 
measure 
the  warp 


96 


HAND-LOOM  WE  A  VING 


required  number  of  yards  —  be  careful  not 
to  stretch  the  cord — slip  it  off  the  ruler.  The 
long  skein  can  now  be  slipped  through  the 
rings  easily  without  tangling. 

To  adjust  the  rings  on  the  Perfection,  tie 
two  rings  together  and  fasten  securely  to  the 
loom  at  top,  bottom,  and  sides  of  the  loom, 
as  seen  in  the  illustration.  This  must  be 
carefully  done  to  insure  the  rings  being  in 
the  exact  center  and  the  tie  strings  taut 
enough  to  prevent  sagging  and  getting  out 
of  place  during  the  weaving.  In  giving  the 
lesson  to  a  class,  allow  two  children  to  help 
each  other. 

To  adjust  the  rings  on  the  loom  board,  tie 
two  rings  together,  then  place  between  the 
holes  in  the  middle  of  the  board.  Pass  a 
thread  through  the  holes  and  tie  securely. 

Fasten  the  warp  to  the  upper  ring  by 
buttonhole  stitch,  leaving  fifteen  inches  to 
weave  the  warp  strings  together  at  that  place. 
Bring  the  warp  up  over  the  face  of  the  loom, 
or  board,  back  to  the  second  ring,  pull  the 
long  skein  of  warp  through  the  ring — always 
the  same  way,  either  over  or  under  the  ring — • 
then  back  over  the  face  of  the  loom  or  board, 
again  to  the  upper  ring,  and  so  on  until  the 
whole  warp  is  strung.  Fasten  by  buttonhole 
stitch  to  the  second  ring,  leaving  fifteen 


HAMMOCKS 


inches  as  before.  If  the  warp  has  been  strung 
on  the  loom,  the  first  and  last  warp  strings 
should  lie  on  top  of  the  rods.  The  warp  should 
be  tight  enough  to  spring  beneath  the  hand, 
but  not  tight  enough  to  pull  the  rings  out 
of  shape.  The  hammocks  strung  on  loom 
boards  should  be  examined  before  the  weav- 
ing is  begun,  to  see  that  the  warp  is  not  too 
loose. 

Draw  the  fifteen  inches  of  cord  through 
the  warp  cords.  Press  the  cords  flat,  so  that 
they  lie  side  by  side,  and  weave  across,  using 
the  blunt  steel  needle.  Pass  the  cord  through 
the  ring,  drawing  the  cord  up  to  form  a  semi- 
circle, then  down  the  side  with  one  button- 
hole stitch,  or  if  preferred  pass  it  once 
through  the  cord  at  the  side.  Then  weave 
to  the  other  side,  drawing  the  cord  up  to 
form  a  semicircle;  make  one  buttonhole 
stitch  in  the  side  (or,  as  above)  and  pass 
through  the  ring  as  before.  Continue  this 
as  far  as  desired,  fasten  at  the  ring,  and  in- 
stead of  cutting  off  the  end  run  it  into  the 
weaving  until  it  is  secure  and  invisible. 
Careful  finishing  adds  a  great  deal  to  the 
appearance  of  any  kind  of  work. 

The  most  satisfactory  method  to  stay  the 
woof  cords  so  they  will  not  slip  out  of  place 
when  the  hammock  is  removed  from  the 


98 


HAND-LOOM  WEAVING 


Securing 
the  woof 
cords  at 

head  and 
foot  of 

hammock 


How  to 

make  the 

stay  cords 


The 

finishing 

cords  for 

sides  of 

hammock 


loom,  is  to  make  a  line  of  buttonhole  stitch- 
ing at  each  end  of  the  loom,  close  to  the  head 
and  foot  pieces,  or,  on  the  board,  about  where 
the  curve  for  the  dip  commences.  This  is 
preferable  to  the  old  roping,  as  it  does  not 
get  out  of  place. 

Turn  the  side  of  the  loom,  or  board,  toward 
you,  with  the  foot  piece  to  the  right.  Fasten 
a  cord  four  times  as  long  as  the  width  of  the 
hammock  around  the  rod  (on  the  loom,  or 
first  warp  cord  on  the  board)  at  the  farther 
edge,  leaving  three  and  one-half  inches  for 
fringe.  Make  a  regular  buttonhole  stitch 
around  each  warp  string  across  the  loom  and 
fasten  in  the  same  way  at  the  opposite  rod, 
leaving  three  and  one-half  inches  for  fringe. 
Repeat  this  at.  the  other  end  of  the  hammock. 
These  are  called  the  stay  cords.  (See  ham- 
mock on  Perfection  Loom,  page  93.) 

It  has  been  the  custom  to  finish  the  sides 
of  the  hammock  after  it  was  woven,  but  ex- 
perience has  proved  that  it  is  a  hard  matter 
for  little  fingers  to  separate  the  many  threads 
of  the  fringe  accurately  and  that  it  is  better 
to  finish  the  sides  as  the  weaving  progresses. 
Tie  a  cord  five  times  the  length  of  the  ham- 
mock to  each  rod  at  the  foot  piece,  if  you  are 
weaving  on  the  loom,  or  to  the  first  warp 
string  on  the  board,  leaving  three  and  one- 


HAMMOCKS 


half  inches  for  fringe.  Let  these  finishing 
cords  hang  at  the  sides  until  you  are  ready 
for  them. 

Cut  the  woof  cords  twice  the  width  of  the 
hammock.  This  allows  for  a  fringe  of  three 
and  one-half  inches  at  each  side.  Children 
can  wind  the  cord  around  a  stick  or  piece  of 
pasteboard  of  the  right  length  and  then  cut 
at  each  end;  or  they  may  measure  with  a 
ruler  each  time.  Care  should  be  taken  not 
to  stretch  the  cord  in  measuring. 

Beginning  at  the  foot  of  the  loom,  weave 
one  cord  across,  pressing  down  close  to  the 
stay  cord.  Then  weave  a  second  cord  and 
bring  up  the  two  cords  over  the  warp  cords 
which  lie  on  top  of  the  rods  (or  the  warp 
strings  on  the  edges  of  the  board).  Then 
with  your  long  finishing  cord  make  a  button- 
hole stitch  over  the  stay  cord  and  the  two 
woof  cords  (one  pair)  and  around  the  rods  to 
keep  the  edges  straight.  Be  very  careful  to 
keep  this  buttonhole  stitching  at  the  sides 
very  loose,  or  it  will  be  difficult  to  remove  the 
rods.  Now  weave  four  woof  cords  and  bring 
up  the  ends  on  top  of  the  rods  as  before. 
With  the  finishing  cord  make  one  buttonhole 
stitch  over  these  four  cords  (two  pairs)  and 
around  the  rods,  loosely,  as  before. 

Continue  to   weave   the    hammock    and 


TOO 


HAND-LOO. If  WE  A  VING 


buttonhole  the  sides  in  this  way  until  it  is 
finished,  leaving  three  and  one-half  inches 
of  the  finishing  cord  at  the  head  piece  for 
fringe.  Care  should  be  taken  to  keep  the 
warp  strings  parallel  to  the  rods  while  weaving. 
Have  the  child  straighten  them  each  time 
he  weaves  across  the  loom.  Be  careful  to 
have  the  purl  of  the  buttonhole  stitch  lie 
straight  and  firm  on  top  of  the  rod  and 
toward  the  outer  edges  of  the  hammock. 
When  the  hammock  is  finished,  turn  the 
loom  face  down,  comb  out  the  fringe,  and 
cut  off  the  half  inch  which  has  frayed  in 
weaving. 

Cut  the  rings  apart,  draw  out  the  rods, 
and  lift  from  the  loom. 

Some  teachers  prefer  to  rope  the  sides  of 
the  hammock  after  it  is  woven .  As  explained 
before,  it  is  more  difficult  to  do,  is  not  as  firm 
as  the  buttonholing,  and  does  not  present 
as  neat  an  appearance.  To  rope  the  sides, 
double  the  long  finishing  cord,  slip  one  half 
under  the  first  warp  thread,  and'  under  the 
first  five  threads  of  fringe.  Stretch  two  woof 
threads  firmly  across  the  hammock,  holding 
the  fringe  threads  down  with  one  hand. 
Wrap  under  the  next  five  fringe  threads 
with  the  upper  finishing  cord.  Cross  the  two 
finishing  cords  so  as  to  bring  the  lower  one 


HAMMOCKS''.'  \  'J*l< 


on  top,  stretch  two  more  woof  cords  as  before, 
pass  the  finishing  cord  under  the  five  fringe 
threads,  and  so  on,  until  the  roping  is  finished. 
It  is  preferable  to  rope  the  right  and  left 
sides  of  the  hammock  alternately.  Fasten 
the  finishing  cord  at  the  top  of  the  hammock 
by  tying  the  two  ends  together,  and  cut  even 
with  the  fringe. 

If  a  lighter  fringe  is  desired,  cut  the  woof 
cords  twice  the  width  of  the  loom,  plus  twice 
the  width  of  the  fringe.  Weave  across  the 
loom,  leaving  enough  for  fringe  at  the  side, 
then  around  the  rod  and  back  again,  leaving 
fringe  of  the  same  length  as  the  other.  Bring 
both  ends  up  on  top  of  the  rod.  Alternate  the 
next  woof  cord,  leaving  fringe  on  the  oppo- 
site side;  or  two  or  three  loops  maybe  made 
on  one  side  with  fringe  on  the  other.  In 
that  case  the  buttonhole  stitches  on  the  edge 
must  sometimes  take  up  loops  and  some- 
times fringe  threads.  Hammocks  made  in 
this  way  could  be  knotted  in  some  fanciful 
way  across  the  space  where  the  loops  come. 
In  order  to  do  this,  allow  for  a  longer  fringe, 
as  the  knotting  requires  more  cord.  (See 
page  157.) 


fiAND-LOOM  WE  A  VING 


RAFFIA  MATS 

TV/T  ATS  of  raffia  are  made  like  all  the  other 
mats.  The  warp  may  be  of  twine  or 
carpet  warp.  In  this  case,  the  mat  should 
be  woven  of  raffia  in  the  natural  color,  with 
stripes  of  bright  color  at  each  end ;  or  it 
may  be  of  some  dark  tone  with  stripes  of  a 
contrasting1  color.  By  using  a  warp  of  raffia, 
many  of  the  beautiful  kindergarten  designs 
can  be  produced.  Use  one  color  for  the  warp 
and  another  for  the  woof.  The  children 
will  have  no  difficulty  in  carrying  out  the 
pattern,  if  they  remember  that  the  rods  cor- 
respond to  the  border  of  the  paper  mat.  Be- 
fore stringing  the  warp  for  a  kindergarten 
pattern,  count  the  strips  in  the  paper  mat 
and  begin  to  count  on  the  loom  from  the 
rods.  In  this  kind  of  work  the  string  on  top 
of  the  rod  does  not  count.  It  forms  the 
border  of  the  mat. 

In  making  mats,  or  matting,  of  raffia,  the 
material  can  be  carried  over  the  rods  as  in 
wool-weaving,  or  it  can  be  finished  on  the 
edges  in  the  same  way  as  the  real  matting 


A  woven  mat  of  raffia,  from  a  kindergarten  pattern  in  green 
and  the  natural  color  of  the  raffia 


104 


HAND-LOOM  WEA  VING 


is  done.  This  will  be  easily  understood  by 
examining  a  piece  of  matting.  In  stringing 
the  warp,  have  three  strings  over  each  bar 
instead  of  one.  Cut  the  woof  strips  several 
inches  longer  than  the  width  of  the  loom. 
Weave  the  first  strip,  leaving  a  piece  at  each 
side.  Thread  a  tape  needle  with  one  end 
and  weave  it  in  and  out  the  three  warp 
threads  on  the  rod.  Then  cut  it  off  close  to 
the  edge.  Finish  off  all  the  ends  in  this 
way.  When  the  work  is  removed  from  the 
loom,  press  the  edges  flat  with  a  warm  iron. 
It  is  a  little  easier  to  keep  the  pattern  right 
by  weaving  in  this  way,  and  the  work  resem- 
bles the  real  matting  more  nearly.  Use  a 
tape  needle  for  weaving  raffia.  If  desired 
the  edge  of  raffia  mats  can  be  strengthened 
by  binding  with  narrow  tape. 

If  the  doll  house  which  we  are  fitting  is 
a  large  one  with  porches,  one  could  complete 
the  furnishings  with  a  porch  curtain  for 
sunny  afternoons. 

Boxes  of  all  kinds  can  be  made  of  raffia 
woven  in  panels.  It  will  make  the  box 
stronger  and  firmer  to  overhand  a  piece  of 
rattan  around  the  edges  of  the  panels  before 
joining  them  in  the  form  of  a  box.  Thread  a 
worsted  needle  with  a  narrow  strip  of  raffia 
and  buttonhole  the  edges  of  the  panels 


RAFFIA  MATS 


105 


together;  or,  sew  them  over  and  over  and 
cover  with  a  braid  of  raffia.  Spiral-weaving 
is  pretty  for  this  finishing.  It  is  described 
in  an  article  entitled  "Straw-Weaving,"  in 
"American  Homes"  for  September,  1900,  a 
magazine  published  in  Knoxville,  Tenn. 
Glove/trinket,  and  mouchoir  boxes  are  pretty 
for  holiday  gifts.  By  using  different  patterns 
and  colors  a  great  variety  of  them  can  be 
made. 


Glove, 
trinket, 

mouchoir 


106 


HAND-LOOM:  WEA  VING 


Doll  towels 


A  doll  towel  with 
fringed  ends 


MISCELLANEOUS  WEAVING 

T^\OLL  towels  are  very  fascinating  things 
^  to  make.  Adjust  the  loom  for  the  re- 
quired size.  The  exact  proportion  can  be 
ascertained  from  a  large  towel. 
String  the  close  warp  with  fine 
darning  cotton  and  have  the  strings 
in  pairs  with  fringe  at  each  end. 
Allow  several  inches  for  fringe  so 
that  it  can  be  knotted  easily.  The 
woof  threads,  which  are  also  of  fine 
darning  cotton,  should  be  pushed 
very  closely  and  smoothly  to- 
gether. Plain  stripes  of  red  or 
blue,  or  fancy  stripes  made  with  a 
kindergaten  design,  can  be  woven. 
Observe  the  same  directions  for 
spacing  the  stripes  which  are  given 
with  the  silkoline  rug.  The  towel 
in  the  illustration  is  made  of  white 
darning  cotton,  with  the  stripes 
and  initial  of  red.  The  children  will  be  de- 
lighted to  lay  towel  borders  with  their  tab- 
lets, and  after  cutting  and  pasting  with 


MISCELLANEOUS  WEAVING 


colored  paper,  weave  them  in  towels  for 
Miss  Dolly's  housekeeping.  Cross-stitch  the 
initial  as  previously  directed.  Lunch  cloths 
and  bedspreads  can  be  made  in  the  same 
way.  These  should  be  fringed  all  around. 
A  cross-barred  cloth  or  spread  can  be  made 
by  putting  the  color  in  the  warp  at  regular 
intervals  and  weaving  across  with  color  and 
white  to  form  squares.  Pretty  quilts  of  coarse 
cotton  can  be  made  with  kindergarten  de- 
signs. By  weaving  many  squares,  a  large 
quilt  can  be  made. 


Bed  and  carriage  blankets  are  best  made 
of  single  zephyr,-  although  Germantown 
wool  will  do.  The  heavy  carpet  wools  are 
also  pretty.  Some  suggestions  for  this  work 
have  already  been  given  under  the  head  of 
"  Materials."  These  blankets  are  really  mats, 
but  made  only  for  another  use,  and  are  to  be 
woven  in  a  similar  way.  Those  with  centers 
and  borders  are  pretty,  and  the  plaid  blan- 
kets are  always  attractive. 

For  doll  shawls  choose  a  pretty  Scotch 


io8 


HAND-LOOM  WEAVING 


Doll  skirt 


plaid  and  match  the  colors  in  fine  wool. 
String  a  close  warp  with  wool,  copying1  the 
Scotch  plaid  exactly.  Weave  the  colors 
across  so  that  a  "truly"  plaid  shawl  may 
grace  Miss  Dolly's  shoulders  on  the  cold 
winter  mornings.  A  striped  shawl  is  pretty, 
or  one  having  one  color  for  the  center  and 
another  for  the  border. 

Miss  Dolly  may  have  a  lovely  petticoat, 
too.  String  a  continuous  warp  long  enough 
for  the  width  of  the  skirt.  Adjust  the  rods 
for  the  length.  By  using  a  little  color  in 
the  warp  near  the  right  edge  of  the  weav- 
ing, the  skirt  will  have  some  stripes.  Twist 
a  cord  of  the  wool  and  run  in  the  top  for  a 
draw-string. 

To  make  reins,  adjust  for  a  narrow  strip 
and  string  a  close,  continuous  warp  the 
length  desired.  Make  a  piece,  also,  to  go 
across  the  front.  Use  Germaritown  knitting 
yarn.  A  black  warp  with  a  bright  red  woof 
is  pretty. 

In  order  to  obtain  a  Tarn  O'Shanter  for 
Dolly,  first  weave  a  square  the  required  size. 
String  a  close  warp  with  wool  and  weave 
a  kindergarten  pattern  with  two  colors. 
When  completed,  remove  from  the  loom,  fold 
four  corners  to  the  center,  turn  them  in  to 
form  an  opening  for  the  head,  and  fasten 


Reins 


A  square 

Tarn 

O'Shanter 


MISCELLANEOUS  WEAVING 


the  edges  by  sewing,  or  by  lacing  with  a 
cord  made  of  the  two  colors.  Fasten  a  tassel 
on  the  top  and  it  is  finished.  Angora  wool 
is  pretty  for  these  caps. 

The  head  piece  of  the  loom  should  be 
adjusted  for  the  width  of  the  rug  for  which 
the  fringe  is  required.  A  rug  nine  inches 
wide  would  require  fringe  nine  inches  long. 
Adjust  the  rods  one  inch  apart.  String 


the  warp  in  every  groove,  one  string  over 
each  rod  and  three  between,  making  five  in 
all.  Weave  over  and  under  one  until  the 
heading  is  finished.  If  you  have  an  extra 
side  rod,  place  it  in  the  sixth  perforation 
from  the  right-hand  rod.  This  will  make 
tassels  a  little  over  two  inches  long.  If  a 
shorter  fringe  is  preferred,  adjust  accord- 
ingly. If  you  have  not  an  extra  side  rod 
remove  the  left  one  and  place  as  directed, 
leaving  the  right  one  in  the  heading  until 
the  whole  fringe  is  finished.  Thread  a  large 
tape  needle  with  two  pieces  of  worsted,  as 


no 


HAND-LOOM  IV E A  VING 


long  as  the  two  can  be  conveniently  man- 
aged. If  the  fringe  is  made  of  two  colors, 
take  one  of  each  for  the  tassels,  weaving  the 
heading  with  the  one  which  predominates 
in  the  rug.  Run  the  ends  in  the  grooves  to 
fasten  them.  Wind  under  the  right  rod, 
which  was  left  in  the  heading,  through  the 
first  stitch,  which  includes  the  warp  string 
over  the  rod,  then  over  the  extra  rod  to  the 
right.  Wind  under  again  through  the  next 
stitch  in  the  heading  (always  around  the 
rod)  and  so  on  until  the  end  is  reached.  To 
make  this  fringe  into  tassels,  separate  six 
strands  of  each  color  and  tie  with  the  two 
colors,  running  the  tape  needle  and  worsted 
along  from  one  tassel  to  another,  or  tie  each 
one  securely  and  cut.  The  fringe  will  need 
no  finishing  at  the  ends.  Run  the  short 
ends,  which  were  wound  through  the  grooves 
in  the  beginning  in  order  to  fasten  them, 
through  a  few  stitches  in  the  heading.  The 
fringe  can  be  made  of  one  color,  and  of  any 
width.  To  take  the  fringe  from  the  loom, 
first  remove  the  rod  at  the  end  of  the  tassels 
and  cut  the  fringe  before  removing  the  rods 
from  the  heading.  This  will  insure  straight 
cutting  at  the  ends  of  the  tassels.  If  one 
prefers  a  knotted  fringe,  cut  and  knot  before 
removing  the  heading.  By  examining  rug 


MISCELLANEOUS  WEAVING 


fringes  in  the  furniture  stores  one  can  get  a 
very  good  idea  of  the  manner  of  knotting. 
(See  also  directions  for  splicing  German- 
town  wool.) 

A  simple  fringe  can  be  knotted  quickly 
and  easily  in  the  ends  of  the  warp  strings, 
after  the  rug  is  taken  from  the  loom.  First 
decide  upon  the  length  of  the  fringe  when 
finished.  Add  at  least  two  inches  to  allow 
for  knotting.  Cut  each  piece  of  wool  twice 
this  length,  double,  and  thread  a  tape  needle. 
Pass  the  needle  from  the  right  side  of  the 
rug  to  the  wrong,  through  the  warp. strings 
at  the  end  of  the  rug.  Draw  the  loop  of 
wool  through  and  unthread  the  needle.  Pass 
the  two  ends  of  the  wool  down  through  the 
loop  and  draw  it  tight.  When  this  has  been 
done  in  every  pair  of  warp  strings,  knot 
every  other  piece  of  the  fringe  together,  in 
the  same  way  that  towel  fringe  is  made. 

This  question  of  whether  a  rug  should 
have  fringe  or  not  is  much  discussed  at  pres- 
ent. It  is  largely  a  personal  one.  The  best 
way,  perhaps,  is  to  study  different  kinds  of 
rugs  and  know  which  ones  are  usually  made 
with  fringe  and  which  are  not. 

Bed  shoes  of  all  sizes  are  easily  woven, 
and  make  a  useful  holiday  gift.  They  are 
made  without  soles  and  are  intended  to  be 

8 


HAND-LOOM  WE  A  VING 


Bed  shoes 


Bed  shoes 

made  of 

white 

wool 


drawn  up  around  the  ankle  like  a  high  moc- 
casin. Use  the  soft  double  Germantown 
wool.  White,  fastened  together  with  pink 
or  blue,  or  white  striped  with  a  color,  may 
be  used  very  effectively.  The  socks  in  the 
illustration  are  of  white  wool  with  a  pink 
seam  up  the  instep  and  pink  scallops  around 
the  top.  One  sock  is  shown  on  a  last,  and  the 
other  as  it  appears  off  the  foot.  The  stripes 
in  the  knitting  can  be 
JfelH^  j  shown  in  the  weav- 
jjfj't---  jj  ing  by  using  a  color. 

\   The  full  size   of  the 
H     loom  makes  a  shoe 
^^^^M  °f    medium    size. 

j^      String  a  close  warp 
with  white  wool.     If 
the  shoe  is  to  be  all  white, 
weave  with  the  same,  leav- 
ing the  color  for  the  finishing.     If  it  is  to  be 
striped,  weave  perhaps  eight  or  ten  times 
across  with  color  and  then  with  white ;  when 
the  weaving  is  finished  you  will  have  a  mat 
9x12  inches.    Double  one  of  the  short  edges 
and  sew  over  and  over  on  the  wrong  side 
with  white  wool.     This  is  the  toe.    The  two 
long  edges  now  lie  together.     They  may  be 
crocheted,  or  knitted,  with  colored  wool  by 
holding  them  close  and  fulling  in,  or  by 


MISCELLANEOUS  WEAVING 


puckering  a  little.  If  this  is  done  in  color,  it 
makes  a  pretty  seam  on  the  top  of  the  foot 
and  in  front  of  the  ankle.  The  top  may  be 
finished  by  crocheting  a  beading  and  scal- 
lops of  the  colored  wool.  Run  a  ribbon  or 
worsted  cord  through  the  beading.  If  de- 
sired, the  long  edges  may  be  laced  together 
with  ribbon  one-half  inch  wide.  Baby  shoes 
are  made  in  the  same  way.  To  ascertain 
what  length  to  adjust  the  loom,  measure  the 
sole,  then  up,  back  of  the  heel,  to  a  point 
above  the  ankle.  For  the  width,  measure 
around  the  foot.  Finish  the  cords  with  tas- 
sels or  balls. 

To  make  worsted  balls,  first  cut  two  small 
circles  from  cardboard.  From  the  center  of 
each  cut  a  smaller  circle.  Hold  one  circle 
over  the  other,  and  with  a  worsted  or  tape 
needle  threaded  with  wool,  wind  over  and 
over  very  closely  until  the  hole  in  the  center 
is  completely  filled.  Always  piece  the  wool 
on  the  outside  edge.  Cut  the  wool  all  around 
on  the  outside.  Make  a  cord  of  the  wool 
and  slip  between  the  two  circles.  Then  tie 
so  as  to  fasten  all  the  pieces  of  wool  in  the 
middle,  leaving  the  cord  long  enough  to  tie 
in  a  bow  if  desired.  Tear  the  pasteboards, 
remove  them,  and  trim  the  wool  evenly.  A 
second  ball  should  be  fastened  on  the  other 


Baby  shoes 


Worsted 
balls  for 
bed  shoes, 
and  other 
articles 


HAND-LOOM  WEAVING 


Photo- 
graph 
frames 


Table 
mats 


Tippet  or 
scarj 


Wristlets 


end  of  the  cord,  after  it  has  been  laced  through 
the  beading. 

To  weave  photograph  and  picture  frames 
of  silk,  chenille,  raffia,  celluloid,  or  leather, 
proceed  in  the  same  way  as  for  a  bordered 
rug,  having  the  oblong  or  square  center  the 
required  size  for  the  picture.  Foundation 
frames  for  mounting  the  work  can  be  pur- 
chased, usually,  at  the  stores  where  tissue 
paper  and  flowers  are  sold. 

Square  and  oblong  table  mats  for  hot 
dishes  can  be  made  of  candle-wicking,  knit- 
ting cotton,  or  cheese  cloth. 

To-day,  tippets  and  scarfs  are  very  little 
used,  but  they  are  very  comfortable  things 
to  wear  to  school  on  a  cold  day.  In  order 
to  make  them,  string  a  continuous  warp  of 
the  required  length  with  Germantown  dark 
colored  wool.  Weave  the  same  color  for 
the  woof,  and  brighten  it  at  intervals  with 
Roman  stripes.  A  plaid  scarf  can  be  woven, 
if  preferred;  while  with  a  close  warp  one 
can  have  a  kindergarten  pattern  in  another, 
or  contrasting  color. 

In  making  wristlets,  one  must  decide  how 
long  they  are  to  be,  and  adjust  the  length 
on  the  loom.  Measure  around  the  wrist  for 
the  width,  remembering  that  the  wristlets 
will  stretch  when  pulled  over  the  4iand. 


MISCELLANEOUS  WEAVING 


Weave  in  stripes  or  plaid,  or,  if  desired, 
plain,  stringing  the  warp  with  the  same 
wool  as  is  used  in  weaving.  Remove  the 
mat  and  sew  the  edges  together. 

Sleeve  protectors  can  be  woven  of  raffia 
in  the  same  way  as  wristlets.     Make  them 


i 


9 


ff 


•- 


* 


m*- 


H-H* 
l-H-fr 
•I-M-I* 


J-i-M 


so  they  can  be  fastened  on  the  outside  of 
the  sleeve  like  a  cuff. 

Purses,  or  chatelaine  bags,  are  made  of 
knitting  silk.  Beads  can  be  added,  if  de- 
sired. Adjust  the  loom  for  the  required 
size,  and  string  a  continuous  warp,  if  neces- 
sary. Silver  or  nickel  tops  which  open  and 
close  may  be  obtained  at  department  stores. 


n6 


HAND-LOOM  WEAVING 


It  will  be  better  to  use  heavier  material 
for  shopping  and  school  bags.  Raffia  makes 
a  strong  bag;  silk  strips  are  serviceable, 
and  leather  strips  are  good  for  school  bags. 
For  opera-glass  bags,  make  two  mats  and 
lace  or  weave  them  together,  or  string  a 
continuous  warp.  Use  rope  silk,  chenille, 
or  knitting  silk  with  beads. 

When  one  has  mastered  the  mysteries  of 
weaving  thoroughly  enough  to  make  a  good 
mat,  it  is  very  easy  to  "turn  them  into"  vari- 
ous articles.  There  is  no  slight  of  hand 
about  it. 

Silk  canvas  panels  are  made  by  adjusting 
the  loom  for  the  required  size  of  the  sides 
of  the  box,  and  weaving  a  plain  mat  for  the 
top.  A  number  of  suggestions  have  been 
given  under  the  head  of  "  Materials." 

Pretty  neckties  of  fine  knitting  silk  can 
be  made  on  the  loom  by  using  a  continuous 
warp  of  the  same  material. 

The  illustration  on  page  1 1 7,  and  an- 
other on  page  115,  and  also  the  vignette  on 
the  title  page,  show  squares  of  silk  canvas, 
and  will  give  one  many  ideas  of  how  they 
may  be  used.  One  has  a  cross-stitched  pat- 
tern of  chenille,  and  in  another  the  che- 
nille was  alternated  with  silk  in  the  warp, 
and  both  chenille  and  silk  were  used  in 


MISCELLANEOUS  WEAVING 


the  woof.  The  squares  can  be  made  up 
in  cushion  and  box  covers,  sachet  cases, 
sofa  pillows,  or  the  largest  squares  can  be 


used  for  veil  cases.  A  number  of  them  can 
be  joined  for  large  sofa  pillows.  In  the  lat- 
ter case  they  can  be  made  of  wool,  and  many 
of  them  could  be  crocheted  together  for  an 
afghan  or  slumber  robe. 

Slumber  robes  or  afghans  have  been  pre- 
viously mentioned  under  the  head  of  "Mate- 
rials." It  will  be  found  very  easy,  after  a 
little  experience  with  a  continuous  warp,  to 
make  strips  of  any  length.  It  is  better  to 
wind  the  extra  lengths  of  warp  upon  spools, 


n8 


HAND-LOOM  WE  A  VING 


Porttires 


Hair 
receivers 


as  has  been  suggested,  or  around  the  tops  of 
the  rods.  Large  portieres  can  be  made  of 
long  strips  of  silk  or  silkoline  cut  bias.  Fas- 
ten the  long  strips  together  horizontally  in 
imitation  of  Bagdad  curtains. 

Hair  receivers  are  easily  made  from  raffia. 
Make  a  square  mat  and  fold  it  in  cornucopia 
form. 


ORIENTAL  RUGS 


ORIENTAL  RUGS 

^PO  be  quite  up  to  date,  Miss  Dolly  should 
have  oriental  rugs  and  draperies  in  her 
house  beautiful.  These  are  easily  made  on 
the  loom,  and  the  little  girl  or  boy,  who  has 
first  copied  a  pattern  and  then  seen  it  grow 
under  patient  fingers,  has  a  thing  of  beauty 
and  a  joy  forever.  What  could  give  more 
pleasure  than  to  be  able  to  say  fifty  years 
from  now:  "I  wove  that,  my  dear,  when  I 
went  to  school"?  Truly  the  grandchildren 
would  reply:  "How  I  wish  I  could  have 
gone  to  grandma's  school!"  —only  they  may 
have  something  equally  beautiful  which 
will  take  its  place  in  that  far-off  time — who 
knows? 

The  patterns  for  oriental  rugs  familiar  in 
the  East  have  descended  through  hundreds 
of  years,  and  the  exquisite  colors,  produced 
by  vegetable  dyes,  and  increasing  in  rich- 
ness and  beauty  with  age,  are  only  to  be 
seen  in  old  rugs.  We  have  nothing  in  our 
modern  dyes  to  compare  with  the  old  colors. 
One  is  soon  interested  in  the  study  of  these 


120 


HAND-LOOM   WEAVING 


Inscrip- 
tions on 
Persian 
rugs 


Bokhara 
rugs 


Eastern  treasures,  and  it  becomes  second 
nature  in  a  short  time  not  only  to  chat 
familiarly  of  Kermans,  Serebends,  Khivas, 
Bokharas,  and  Kiz-Kilims,  ad  infinitum,  but 
to  jot  down  now  and  then  in  one's  notebook, 
or  still  better  in  one's  design  book  (made  of 
the  kindergarten  squared  paper,  one-eighth 
inch),  a  pretty  border  or  centerpiece  for  the 
rug  which  is  to  grace  some  doll  house.  The 
patterns  of  Turkish  rugs  (see  page  122)  are 
of  geometrical  or  arabesque  designs — an 
edict  from  the  Koran  having  prohibited  the 
reproduction  of  living  things.  The  Per- 
sians, however,  weave  animals,  birds,  etc.,  as 
their  ancestors  did  in  days  gone  by. 

There  is  some  very  interesting  reading 
in  " Oriental  Rug  Weaving,"  by  V.  Kurdji, 
on  the  subject  of  inscriptions  often  found  on 
Persian  rugs.  He  says:  "If  the  possessors 
of  some  of  the  rare  pieces  that  are  sold  in 
this  country  knew  the  meaning  of  the  in- 
scriptions  woven  in  their  rugs,  the  knowl- 
edge would  add  a  charm  and  interest  which 
would  make  them  more  valuable  than  the 
harmonious  colors  so  beautifully  blended." 

Oriental  rugs  take  their  names  from  the 
countries  or  provinces  in  which  they  are 
made.  Bokhara  rugs  are  made  in  moun- 
tainotis  districts  of  Turkestan,  and  have 


ORIENTAL  RUGS 


never  been  successfully  imitated,  because 
the  dyes  used  are  made  from  a  plant  grown 
only  in  that  district.  The  designs  are  geo- 
metrical, and  the  colors  deep  maroon  or  blue. 
The  pile  is  woven  as  close  as  velvet.  They 
are  noted  for  the  superior  quality  of  their 
dyes.  Khiva  rugs,  sometimes  called  Afghan, 
are  made  in  Turkestan.  They  resemble  the 
Bokhara  rugs,  but  are  coarser  in  texture 
and  heavier  in  pile,  and  they  differ  from 
them  in  having  a  wide  selvage  at  each  end. 
Some  Khivas  have  a  small  pattern  in  red 
mosaic  over  the  surface  with  a  circle  in  the 
center.  One  often  sees  a  rug  made  of  a  rich 
golden  yellow  with  a  background  of  dark 
red. 

The  Kiz-Kilim  rugs  have  no  nap,  and  are 
woven  with  a  needle.  They  are  thin  and 
almost  alike  on  both  sides.  The  larger  sizes 
are  woven  in  two  strips  fastened  together 
so  that  they  can  be  taken  apart  and  used  for 
curtains.  "These  Kiz-Kilims  are  woven  by 
Armenians  and  Turks  in  Anatolia  (the  land 
of  sunrise,  and  the  Greek  name  for  Asia 
Minor).  The  literal  translation  of  the  word 
Kiz-Kilim  is  bride's  rug,  it  being  a  custom 
in  that  country  for  a  bride  to  present  to  her 
husband  one  of  these  rugs,  which  she  has 
woven  during  her  engagement  to  him.  The 


A  Kiz-Kilim  rug- 


ORIENTAL  RUGS 


quality  of  the  rug  is  supposed  to  measure 
the  quality  of  the  husband's  affection  for  his 
bride,  consequently  we  have  many  beautiful 
specimens  of  this  class,  the  brilliant  hues 
and  intricate  designs  of  which  could  only 
have  been  inspired  by  the  whisperings  of 
Cupid.  They  are  in  open-work  patterns  — 
called  perforated — and  often  have  long  tufts 
of  colored  silk  tied  to  the  rugs  with  blue 
beads,  in  order  to  keep  them  from  the  effects 
of  the  Evil  Eye."  The  Kiz-Kilim  rug  in  the 
illustration  was  copied  from  a  genuine  rug. 
The  filling  is  a  deep  blue  and  the  borders 
are  in  oriental  colors.  The  center  figure  is 
white,  with  red,  brown,  and  yellow  inside. 
There  are  four  kinds  of  Kilims.  Much 
interesting  and  valuable  information  can 
be  found  in  John  Kimberley  Mumford's 
"Oriental  Rugs"  (New  York:  Charles  Scrib- 
ner's  Sons,  1900),  where  directions  for  weav- 
ing Kiz-Kilims,  Khivas,  and  Bokharas  are 
given,  with  a  few  patterns. 

Kiz-Kilim  rugs  have  perforated  or  open- 
work patterns.  To  produce  this  effect  string 
a  double  warp  through  every  notch  in  the  foot 
and  head  pieces;  that  is,  use  two  strings  in 
each  notch,  tying  in  pairs  for  fringe  as  before. 
Use  a  brownish  white  carpet  thread.  With 
strong  black  thread  string  through  every 


124 


HAND-LOOM  WEA  VING 


A  Kiz- 

Kilim  nig 

pattern 


Turkish 

•patterns 

laid  wit  It 

tablets 


Materials 
used 


other  notch  to  outline  per- 
pendicular sides  of  squares 
in  the  pattern.  Your  warp 
will  be  strung  one-quar- 
ter inch,  but  the  black 
threads  will  be  one-half 
inch.  This  will  enable 
you  to  keep  the  patterns 
2  straight  as  the  work  pro- 
gresses. (See  page  132.) 

The  children  can  lay  these  Turkish  pat- 
terns with  square  tablets  upon  their  desks, 
the  pattern  being  drawn  upon  the  board, 
or  on  paper  with  a  rubber  pen.  It  will  be 
a  delight  to  the  children  to  transfer  them 
to  paper  by  drawing  and  then  coloring,  or 
by  cutting  and  pasting  colored  papers. 

Navajo  yarns  are  used  for  these  rugs. 
Copy  your  figures  and  colors  from  genuine 
rugs.  The  accompanying  patterns  were  ob- 
tained in  this  way.  See  directions  on  page 
45  for  stringing  a  double  warp  with  fringe 
at  each  end.  First  fasten  the  pattern  under 
the  warp;  then  weave  about  one-quarter 
inch  at  each  end  with  carpet  thread  like  the 
warp.  This  will  make  it  look  like  a  "truly" 
Kiz-Kilim.  Next  to  this,  weave  a  very  nar- 
row strip  of  several  colors  each  twice  across, 
regarding  the  double  strings  as  one.  Then 


ORIENTAL  RUGS 


125 


weave  each  part  of  the  narrow  border.  To 
make  the  perforations,  take  up  one  thread 
of  the  double  warp  for  one  side  of  the  pat- 
tern, and  the  other  thread  for  weaving  the 
pattern  next  to  it.  For  instance,  the  " steps," 
as  the  children  call  them, 
of  triangle  No.  i,  when 
finished,  will  stand  close 
to  the  steps  of  triangle 
No.  2,  with  a  little  slit 
between.  These  perfora- 
tions occur  only  where 
one  pattern  joins  an- 
other of  a  different  color, 
or  the  dark  filling.  For 
instance,  in  the  white 
figure  in  the  center, 
where  three  or  five 
squares  come  together, 
the  slits  occur  at  each 
end,  the  part  between 
being  woven  over  the  double  strings  as  if 
they  were  only  one.  In  this  way  the  per- 
forations of  other  parts  are  closed  top  and 
bottom.  Use  a  blunt  steel  weaving  needle 
and  weave  each  section  of  the  pattern 
separately.  Weave  the  filling  last.  Some 
weavers  prefer  to  weave  pattern  and  filling 
at  the  same  time,  using  two  or  more  needles. 


126 


HAND-LOOM  WEAVING 


Take  care  not  to  draw  any  part  of  the  pat- 
tern too  tight,  or  the  perforations  will  be 
too.  large.  The  right  and  left  edges  of  the 
rug  are  woven  over  the  rods  to  keep  them 
straight.  Both  narrow  borders  were  woven 
before  the  center  was  commenced. 

The  genuine  Khiva  and  Bokhara  rugs  are 
made  by  weaving  and  knotting  alternately. 
It  will  be  easier  at  first  to  weave  a  web,  or 
foundation.  Choose  a  tight  twisted  yarn 
about  the  color  of  the  rug  to  be  woven. 
String  a  close  warp  of  the  wool  and  weave 
plain  up  and  down,  one  string  at  a  time, 
until  you  have  a  rug  of  the  desired  size. 
Put  in  the  pattern  first,  and  then  the  filling. 
This  work  will  be  almost  too  difficult  for 
little  children.  Carpet  wools  and  German- 
town  wool  can  be  used.  It  will  not  be 
found  difficult  to  follow  the  pattern,  espe- 
cially if  one  is  used  to  cross-stitch  embroid- 
ery. Each  stitch  counts  for  one  of  cross- 
stitch.  Keep  the  stitches  very  close  together 
so  that  the  nap  will  stand  up  well  when 
finished.  Silk  rugs  can  be  copied  in  the 
same  way,  using  floss  or  rope. silk  for  the 
pile.  If  one  prefers,  a  piece  of  burlap  may 
be  stretched  across  the  loom  and  secured 
to  the  rods,  instead  of  weaving  a  foundation, 
as  suggested. 


ORIENTAL  RUGS 


Stitches  for  pile  weaving  are  very  easily 
made.  This  illustration  showing  examples 
of  stitches  for  pile  weaving  illustrates  the 
methods  used  in  the  stitches,  and  may  be  used 
for  Axminster  or  Wilton  rugs,  for  boxes, 

^  ... 


\ 


sachet  cases,  and  other  articles.  These 
stitches  are  made  with  the  blunt  steel  weav- 
ing needle  mentioned  in  Chapter  V. 

There  are  two  stitches,  each  occupying 
half  of  the  illustration  and  numbered  from 
left  to  right,  beginning  at  the  top.  Make 
No.  i  by  passing  a  tape  needle  threaded  with 


128 


HAND-LOOM  WEAVING 


wool  down  through  the  web,  leaving  a  short 
end,  then  up  one  stitch  to  the  left.  This  is 
the  first  step.  In  No.  2  continue  over  on  the 
right  side,  past  the  stitch  where  you  started, 
to  the  stitch  on  the  right;  then  down  and  up 
through  the  first  hole,  and  cut  off  the  wool 
the  same  length  as  the  end  you  left  at  first. 
No.  3  shows  a  stitch  completed.  No.  4,  one 
row  of  stitches,  and  No.  5,  three  rows,  show- 
ing how  one  row  overlaps  another.  When 
the  rug  is  finished,  the  ends  should  be  cut 
evenly,  so  that  the  nap  is  like  velvet.  The 
children  would  say  that  this  stitch  looks  like 
a  two-legged  stool,  and  so  it  does. 

The  second  stitch  is  made  so  that  the  nap 
lies  sideways  from  left  to  right.  A  is  just 
like  the  preceding  stitch.  B  shows  the  needle 
passing  down  the  stitch  where  you  started 
and  up  one  stitch  to  the  right.  Cut  off  the 
wool  and  pull  the  end  left  at  first  over  the 
last  one.  This  pile  should  stand  very  straight 
and  even.  C  shows  a  completed  stitch ;  D  one 
row,  and  E  three  rows.  These  stitches  are 
useful  in  mending  Khiva  and  Bokhara  rugs. 

Wilton,  Axminster,  or  any  rugs  having  a 
pile,  can  be  woven  with  the  same  stitches. 
The  patterns  shown  on  pages  130  and  131 
may  be  used  for  either  a  Wilton  or  Axminster 
rug,  for  a  box  cover,  cushion,  sachet  case, 


ORIENTAL  RUGS 


I2Q 


or  mat;  and  can  be  cross-stitched  embroid- 
ery, on  burlap,  silk  or  woolen  canvas. 


Wilton 
and 

Axmin- 
ster  rugs 


130 


HAND-LOOM  WEAVING 


Pattern 
for 

rugs  or 
squares 


Pattern 

for  border 

of  Persian 

rug 


ORIENTAL  RUGS 


A  pattern 
Jor  a  rug 
or  square 


Borders 
for  rugs 
or  squares 


HAND-LOOM  WE  A  VING* 


NA  VAJO  BLANKETS 


133 


NAVAJO   BLANKETS 

IVTAVAJO  blankets  were  first  made  by 
.  the  Pueblo  Indians,  from  whom  the 
Navajo  Indians  learned  the  art,  and  not  long 
after  the -latter  excelled  in  the  making  of 
them.  Among  the 
Pueblo  Indians 
the  men  do  the 
work;  but  women 
are  the  weavers 
among  the  Nava- 
jos.  In  the  illus- 
tration on  this 
page  is  seen  a 
miniature  Navajo 
loom  with  the  blan- 
ket commenced. 
The  two  cords 
woven  at  the  sides 
with  the  woof 
can  be  easily  seen.  Simple  looms  are  sus- 
pended between  two  posts  or  trees,  and  the 
weaver  sits  upon  the  ground.  A  twig  is 
used  for  a  shuttle,  and  a  reed,  fork-shaped 


A  sketch 


A 

miniature 
Indian 
loom 


134 


HAND-LOOM  WEAVING 


like  a  hand,  is  used  to  push,  down  the  woof 
threads.  The  blanket  is  made  waterproof 
by  pounding  down  the  threads  with  a  bat- 
ten, a  good  picture  of  which  is  seen  in  Dr. 
Washington  Matthews'  article  on  Navajo 
weavers  in  the  Third  Annual  Report  of  the 
Bureau  of  Ethnology.  Separate  balls  of 
color  are  used  to  carry  out  the  pattern, 
which  is  sometimes  traced  in  the  sand  be- 
fore the  work  is  commenced.  As  many  as 
twenty-nine  different  balls  have  been  seen 
hanging  from  a  single  blanket.  Some  of 
the  designs  have  been  handed  down  from 
one  generation  to  another,  and  are  carried 
entirely  in  the  memory.  They  are  often 
symbolical  "and  unfold  a  whole  legend  to 
the  knowing  eye  of  the  native."  The  weav- 
ing is  done  from  the  bottom  up,  some  work- 
ing in  one  direction,  while  others  weave 
first  at  the  bottom,  then  turn  the  loom 
upside  down,  and,  after  weaving  about  the 
same  distance  there,  finish  in  the  middle. 
The  last  part  of  the  weaving  is  like  darn- 
ing, and  is  often  done  with  a  needle.  The 
colors  most  used  are  white,  gray,  black, 
a  bright  yellow,  red  (a  scarlet,  generally 
obtained  by  raveling  bayeta  cloth),  and 
sometimes  blue.  In  former  times,  when  the 
Indians  used  vegetable  dyes,  the  colors 


A  Navajo  Indian  woman  weaving  a  blanket 


136 


HAND-LOOM   WEAVING 


were  beautiful  and  lasting.  These  old  blan- 
kets are  becoming  more  and  more  rare,  and 
to-day  in  their  places  we  have  the  bright 
and  not  always  satisfactory  results  of  ani- 
line dyes.  The  blanket  in  the  illustration 
facing  this  page  has  narrow  stripes  in  the  fol- 
lowing colors:  On  each  end  (seven  stripes) 
red,  black,  white,  orange,  green,  white,  black. 
The  two  groups  of  six  stripes  in  the  middle 
are:  Black,  white,  red,  green,  white,  black. 
Before  the  advent  of  the  present  squaw 
dress,  the  black,  red,  and  dark  blue  blan- 
kets were  used  as  clothing,  but  the  best 
blankets  were,  and  still  are,  worn  at  sacred 
dances.  Dr.  Matthews,  in  his  report,  gives 
an  interesting  description  of  the  method  of 
making  these  blankets,  with  several  pictures 
of  the  better  examples.  Navajo  blankets 
are  finished  with  four  border  cords,  secured 
as  the  weaving  progresses,  the  ends  fastened 
at  the  four  corners  by  small  tassels. 

Small  Navajo  blankets  can  be  woven  on 
the  loom.  Draw  the  pattern  and  place  under 
the  warp,  fastening  it  to  the  side  rods,  or 
to  a  small  strip  of  weaving  at  each  end  of 
the  loom.  Use  warp  or  carpet  thread  for 
the  warp,  and  weave  with  a  tape  or  up- 
holstery needle.  Weave  all  the  pattern 
first,  and  then  put  in  the  filling,  or  weave  as 


f 


3 


A  Navajo  blanket 


138 


HAND -LOOM  WEAVING 


Indian 
blankets 


The  colors 

in  the 

blanket 

on  page  .141 


the  Indians  do,  filling  in  from  one  part  of 
the  pattern  to  the  other  by  threading  the 
needle  with  a  different  color.  This  can  be 
done,  without  running  the  thread  under- 
neath, by  hooking  it  in  the  loop  of  the  pat- 
tern just  finished.  These  little  blankets  are 
very  fascinating  things  to  make,  and  the 
children  become  much  interested  in  them, 
and  in  Indian  life  as  well. 

This  very  beautiful  Navajo  blanket, 
shown  in  the  illustration,  has  three  broad 
red  stripes,  two  narrow  red  stripes  about 
one-half  the  width  of  the  former,  and  four 
gray  stripes  about  one-half  the  width  of 
narrow  red  stripes.  The  centers  of  all  the 
figures  are  red,  like  the  filling  —  a  brilliant 
scarlet.  The  colors  of  the  large  figures, 
beginning  at  the  center  of  each,  and  counting 
from  left  to  right,  are  as  follows  :  Nos.  i,  3, 
and  5,  red,  green,  and  light  yellow.  Nos.  2 
and  4,  red,  white,  and  black.  The  small  fig- 
ures, counting  the  same  way,  are  :  Nos.  i,  3, 
and  5,  red,  white,  and  black.  Nos.  2  and  4, 
red,  yellow,  and  green.  The  four  corners  are 
finished  with  twisted  red  cord-like  tassels. 
This  cord  also  extends  across  the  warp  ends. 
Dr.  Matthews  tells  in  his  article  on  "  Navajo 
Weavers"  how  two  cords  are  twisted  and 
woven  at  the  sides  with  the  woof. 


NA  VAJO  BLANKETS 


The  two  Navajo  Indian  blankets  illus- 
trated in  this  chapter,  and  the  pattern  shown 
on  the  following  page,  may  be  easily 


adapted  for  the  hand  loom.  Use  the  Navajo 
yarn  spoken  of  in  Chapter  XII.  Some  of 
the  handsomest  Navajo  blankets  have  a  long 
nap. 


A  very 

beautiful 

Navajo 

Indian 

blanket, 

|  showing' 

I  the 

'\  manner  of 
decoration 


140 


HAND-LOOM  WE  A  VING 


Navajo 
patterns 
laid  with 

tablets 


The  children  will  take  pleasure  in  lay- 
ing Navajo  patterns  with  triangular  tablets, 


A  pattern 

for  a 

Navajo 

blanket 


and  then  transferring  the  pattern  to  paper 
by  drawing  and  coloring,  or  by  cutting  and 
pasting  in  colors. 


SONGS,   GAMES,  AND  STORIES 


SONGS,  GAMES,  AND  STORIES 

'T^HERE  are  many  beautiful  songs  which 
can  be  sung  during  the  weaving. 
Thomas  Carlyle  has  said : 

"  Give  us,  O  give  us  the  man  who  sings  at 
his  work!  He  will  do  more  in  the  same 
time ;  he  will  do  it  better ;  he  will  persevere 
longer.  One  is  scarcely  sensible  of  fatigue 
whilst  he  marches  to  music,  and  the  very 
stars  are  said  to  make  harmony  as  they 
revolve  in  their  spheres." 

There  are  songs  about  the  birds'  nests, 
always  pleasing  to  the  little  folks,  and 
doubly  so  when  they  have  held  in  their 
own  hands  the  wonderful  bit  of  weaving, 
so  strong  and  yet  so  soft,  woven  by  the 
mother-bird  for  the  baby-birds.  Mrs.  Spider 
is  also  very  interesting  with  her  lace-like 
webs  which  are  to  be  found  even  in  well- 
regulated  schoolrooms,  and  the  songs  of  the 
bleating  sheep  who  give  us  their  wool  fill 
every  little  heart  with  delight.  Miss  Pouls- 
son's  Finger  Play,  "The  Lambs,"  gives  the 
restless  fingers  something  to  do  and  the 


142 


HAND-LOOM  WE  A  VING 


" eight  white  sheep  all  fast  asleep"  afford  a 
chance  for  a  good  laugh  over  the  "  two  old 
dogs  close  by"  (the  thumbs).  One  has  the 
opportunity,  too,  of  noticing  whether  the 
eight  white  sheep  on  the  tiny  hands  are 
really  white  enough  to  do  the  weaving.  A 
smiling  allusion  to  some  small  black  sheep 
will  bring  them  back  clean  for  the  next  ses- 
sion. 

The  following  weaving  game  can  be 
played  in  several  ways.  This  extract  is 
from  the  "  Kindergarten  Guide,"  by  Lois 
Bates :  "  Six  children  stand  in  a  row ;  a  tall 
one  at  each  end  for  the  border  of  the  mat 
and  the  other  four  representing  the  strips. 
The  child  who  is  to  be  the  weaver  holds 
one  end  of  a  long  tape,  while  the  other  is 
fastened  to  the  left  shoulder  of  the  first 
child.  The  weaver  weaves  the  tape  in  and 
out  among  the  children,  placing  the  second 
row  lower  down.  It  will  be  easily  seen  that 
the  children  who  had  it  passed  in  front  of 
them  in  the  first  row,  had  it  behind  them  in 
the  second,  and  vice  versa." 

The  following  weaving  song  in  the 
Walker  and  Jenks  book  can  be  sung  during 
the  weaving.  To  be  sure  it  is  not  really 
"over  and  under"  when  you  think  of  them 
as  children.  Remember  that  they  represent 


SONGS,   GAMES,  AND  STORIES 


a  mat,  and  they  are  for  the  time  the  strips 
and  border. 


(Sung  to  the  tune  of  "Nellie 

Over  one,  under  one, 

Over  one  again. 

Under  one,  over  one, 

Then  we  do  the  same. 

Hi,  weavers  !     Ho,  weavers  ! 

Come  and  weave  with  me  ! 

You'll  rarely  find,  go  where  you  will, 

A  happier  band  than  we  ! 

Kate  Douglas  Wiggin  (Mrs.  Riggs)  in 
her  "Republic  of  Childhood"  describes  the 
game  in  this  way  : 

"  First  choose  a  row  of  children  for 
threads  of  the  warp,  standing  at  such  a 
distance  from  each  other  that  a  child  may 
pass  easily  between  them.  Second,  choose  a 
child,  or  children,  for  thread  of  woof.  After 
passing  through  the  warp,  each  child  takes 
his  place  at  the  end  and  other  children  are 
chosen."  In  this  way  more  children  can  take 
part  than  if  a  tape  were  used.  Some  teachers 
play  it  in  a  different  way,  using  the  desks 
with  the  seats  turned  up  for  the  warp  and 
the  whole  number  of  children  for  the  woof, 
winding  in  and  out  all  over  the  room.  This 
is  very  delightful,  indeed,  if  there  is  enough 
space  for  the  children  to  pass  easily  without 

tripping  on  the  iron  supports  of  the  desks. 
10 


144 


HAND-LOOM  IV E A  VING 


This  is  a  good  game  for  a  rainy  day,  when 
there  is  no  outdoor  recess. 

The  bird  games  are  beautiful  and  leave 
a  wholesome  impression  of  home  life  and 
home  love  on  the  children,  which  will  have 
a  lasting  influence.  Few  children,  brought 
up  in  this  tender  and  beautiful  way,  will 
ever  feel  an  inclination  to  harm  the  birds, 
or  indeed  any  animal. 

The  fund  of  stories  of  birds  and  birds' 
nests  is  almost  inexhaustible.  Miss  Pouls- 
son's  "  In  the  Child's  World"  contains  many 
stories  of  the  weaver  (pages  407-412),  and 
several  about  birds  and  birds'  nests  (pages 
292-301).  Her  talks  to  teachers  with  regard 
to  the  presentation  of  each  subject  are  very 
helpful,  as  well  as  her  suggestions  for  the 
teachers'  reading.  Stories  of  the  weaving 
birds,  particularly  the  African  weaver,  are 
interesting.  It  is  said  that  two  birds  work 
together,  one  on  the  inside  of  the  nest  and 
the  other  on  the  outside,  passing  the  grass 
and  twigs  in  and  out,  until  the  home  is  com- 
pleted. The  children  will  enjoy,  too,  stories 
of  weaving  in  other  lands,  material  for  which 
can  be  easily  obtained.  In  fact,  no  one  need 
to  be  without  stories  in  these  days  of  books 
and  magazines. 

Last,  but  not  least,  is  the  conversation 


SONGS,   GAMES,   AND  STOXIES 


145 


during  the  weaving.  Anyone  who  has  at- 
tended a  teachers'  meeting,  where  the  indus- 
trial work  was  being  given,  has  not  failed  to 
remark  the  sociability  all  over  the  room. 
"  How  are  you  getting  on  ?  "  "  Let  me  see 
yours."  "  Oh,  I  cannot  get  it  at  all,"  etc.,  etc., 
are  heard  everywhere,  and  yet  those  same 
teachers  go  into  their  class  rooms  the  next 
day  and  expect  the  children  to  work  without 
whispering.  If  they  will  read  what  Mrs. 
Wiggin  says  in  the  "  Republic  of  Child- 
hood," in  her  talk  on  "  Sewing,"  they  will 
never  be  guilty  of  it  again.  A  good  plan 
is  to  have  the  room  perfectly  quiet  while  a 
dictation  is  being  given,  and  then  allow  a 
period  of  relaxation  when  the  little  folks 
can  compare  and  admire  the  work  to  their 
hearts'  content.  Beware  of  too  much  repres- 
sion. A  child  when  asked  why  a  tree  grew 
crooked,  replied :  "  Somebody  stepped  on 
it,  I  suppose,  when  it  was  a  little  fellow." 
The  answer  is  painfully  suggestive.  Mrs. 
Wiggin  truly  says :  "  If  the  children  are 
never  to  speak  except  when  they  answer 
questions,  how  are  we  to  know  aught  of 
their  inner  life  ?  " 

The  following  list  of  songs,  games,  and 
stories  suggests  interesting  material  to  cor- 
relate with  the  work  in  hand-loom  weaving. 


146 


HAND-LOOM   WEAVING 


Songs  and 
Games 


SONGS   AND    GAMES 

ATKINSON,  FRANK  H.,  JR.  Singing  Songs  for 
Children.  See  COONLEY. 

BEEBE,   KATHERINE.     Schoolroom   Plays.      Chi- 
cago:  Thomas  Charles  Co.     25  cents. 
A  Weaving  Game. 

BROWN,  KATE  L.   Stories  in  Song.  See  EMERSON. 

COOLIDGE,  ELIZABETH.  After  Supper  Songs. 
Chicago :  Herbert  S.  Stone  &  Co.  $2.00. 

COONLEY,  LYDIA  A.;  SMITH,  ELEANOR  ;  GAYNOR, 
JESSIE  L.;  ROOT,  FREDERICK  W.;  and  ATKIN- 
SON, FRANK  H.,  JR.  Singing  Verses  for  Chil- 
dren. New  York:  The  Macmillan  Co.  $2.00. 

DAVIS,  KATHERINE  WALLACE.  Singing  Rhymes 
and  Games.  Chicago:  Clayton  T.  Summy  Co. 
35  cents. 

EMERSON,  ELIZABETH  U.,  and  BROWN,  KATE  L. 
Stories  in  Song.  Boston :  Oliver  Ditson  Co. 
$1.00. 

The  Oriole's  Nest. 

FORSYTHE,  CLARENCE.      Old  Songs  for  Young 
America.     New  York  :  Doubleday,  Page  &  Co. 
1901.     $2.00. 
Needle's  Eye. 

GAYNOR,  JESSIE  L.     Songs  of  the  Child  World. 
New  York:   The  John  Church  Co.     $1.00. 
The  Bird's  Nest. 
The  Happy  Lambkins. 
Song  of  the  Shearers. 
Spinning  the  Yarn. 
Grandma's  Knitting  Song. 
Weaving  Song. 


SONGS,   GAMES,   AND  STORIES 


147 


GAYNOR,  JESSIE  L.     See  also  COONLEY. 

HILL,  PATTY  S.     Song-  Stories  for  the  Kinder- 
garten. Chicago:  Clayton  T.  Summy  Co.  $1.00. 
The  Children  and  the  Sheep: 

HOFER,  MARI  RUEF.  Children's  Singing  Games. 
Chicago:  Published  by  Mari  Ruef  Hofer, 
Kindergarten  Magazine  Co.  50  cents. 

HUBBARD,  CLARA  BEESON.  Merry  Songs  and 
Games.  St.  Louis :  B  aimer  &  Weber  Music 
Co.  $2.00. 

JENKS,  HARRIET  S.  Songs  and  Games  for  Little 
Ones.  See  WALKER. 

NEIDLINGER,  W.   H.      Small    Songs   for  Small 
Singers.     New  York:  G.  Schirmer.     $1.00. 
The  Spider. 
The  Bee. 
The  Rainy  Day. 

NURSERY  STORIES  and  Rhymes  for  the  Kinder- 
garten and  Home.  Springfield,  Mass.:  Milton 
Bradley  Co.  $1.00. 

The  Song  of  a  Baby's  Blanket. 

The  Song  of  a  Baby's  Shirt. 

PRATT,  WALDO  S.  St.  Nicholas  Songs.  New 
York:  The  Century  Co.  $2.00. 

ROOT,  FREDERICK  W.  Singing  Songs  for  Chil- 
dren. See  COONLEY. 

SMITH,  ELEANOR.  First  Book  in  Vocal  Music. 
Chicago  and  New  York:  Silver,  Burdette  &  Co. 
30  cents. 

Oriole's  Nest  Song. 

Spinning  Song. 


1 48 


HAND-LOOM  WE  A  VING 


SMITH,  ELEANOR.  A  Primer  of  Vocal  Music. 
Chicago  and  New  York:  Silver.  Burdette  & 
Co.  25  cents. 

The  Lazy  Sheep. 

The  Spider. 

The  Silkworm. 


See  also  COONLEY. 


CJ tic  ago :    A , 


SONGS  IN  SEASON.      Plan   Book. 
Flanagan.     50  cents. 
The  Lambkin. 

WALKER,  GERTRUDE,  and  JENKS,  HARRIET  S. 
Songs  and  Games  for  Little  Ones.  Boston  : 
Oliver  Ditson  Co.  $1.50. 

Birdies  in  the  Green  Wood. 

Fly,  Little  Birds. 

In  the  Branches  of  a  Tree. 

Eight  White  Sheep. 

Weaving  Song. 

STORIES 

ANDREWS,  JANE.  Each  and  All.  Boston:  Ginn 
&  Co.  50  cents.  Boston:  Lee  &  SJiepard. 
$1.00. 

New  Work  for  Pense. 

CHASE,  A.,  and  CLOW,  E.     Stories  of  Industry. 

Boston :   Educational  Publishing  Co.     2  vols. 

60  cents  each. 

Stories  of  Cotton,  Wool,  Silk,  and  Carpets. 
CLOW,  E.     Stories  of  Industry.    See  CHASE. 

FARMER,  LYDIA  HOYT.  Boy's  Book  of  Famous 
Rulers.  New  York :  Thomas  Y.  Crowell  &  Co. 
$1.50. 

Robert  Bruce  and  the  Spider, 


SONGS,  GAMES,  AND  STORIES 


149 


MILLER,  OLIVE  THORNE.  Little  Folks  in  Feathers 
and  Fur,  and  Others  in  Neither.  New  York: 
E.  P.  Dutton  &  Co.  $2.50. 

The  Spider  Speaks  for  Herself. 

Stories  of  Caterpillars  and  Butterflies. 

A  Funny  Little  Log  House. 

PIERSON,  CLARA  DILLINGHAM.  Among-  the  Farm- 
yard People.  New  York:  E,  P.  Dutton  &  Co. 
$1.25. 

The  Lamb  with  the  Longest  Tail. 

The  Twin  Lambs, 

Why  the  Sheep  Ran  Away. 

POULSSON,  EMILIE.    Nursery  Finger  Plays.    Bos- 
ton: Lot hr op  Publishing  Co.     $1.25. 
The  Lambs. 


—      Child    Stories    and    Rhymes. 
Lothrop  Publishing-  Co.     $1.25. 
The  Story  of  Baby's  Blanket. 


Boston 


—     In  the  Child's  World.    Springfield,  Mass.: 
Milton  Bradley  Co.     $2.00. 

Stories  of  Caterpillars  and  Butterflies. 

A  Visit  to  the  Weaver. 

John's  Trousers. 

How  a  Little  Boy  got  a  New  Shirt. 

Molly's  Lamb. 

Sequel  to  an  Old  Story. 

Cotton  Field  Stories. 

The  Flax. 

The  Flax  Flower. 

The  Silk  Worm. 

The  Sparrow's  Nest. 

The  Life  of  a  Silk  Worm. 

The  Goddess  of  the  Silk  Worm. 

The  Nest  of  Many  Colors. 

The  Little  Worm  that  was  Glad  to  be  Alive. 


Stories 


HAND-LOOM  WEAVING 


SMITH,  NORA  A.    The  Story  Hour.    See  WIGGIN. 

STORIES  IN  SEASON.     Plan  Book.     Chicago:  A. 
Flanagan.     35  cents. 

The  Bramble  Bush  and  the  Lambs. 


WIGGIN,  KATE  DOUGLAS  (Mrs.  George  C.  Riggs), 
and  SMITH,  NORA  A.     The  Story  Hour.     Bos- 
ton: Nought  on,  Mifflin  &  Co.     $1.00. 
The  Child  and  the  World. 

WILTSE,  SARA  A.  Kindergarten  Stories  and 
Morning  Talks.  JJoston :  Ginn  &  Co.  75 
cents. 

Stories  of  Wool,  etc. 


BOOKS  AXD  MAGAZINE  ARTICLES 


J^ifteim 


A   LIST   OF   HELPFUL   BOOKS  AND 
MAGAZINE  ARTICLES 

BOOKS 

ALBEE,  MRS.  HELEN  R.  Abnakee  Rugs.  Bos- 
ton :  TJie  Riverside  Press.  Issued  by  the 
author,  Pequaket,  Silver  Lake  P.  O.,  N.  H. 

Mountain  Playmates.    Boston  :  H  ought  on, 
Mifflin  &  Co. 

(Chapter  on  Rug-making.) 

ASHENHURST,  THOMAS  R.  Designs  in  Textile 
Fabrics.  London  :  CasselL  &  Co. 

-      Weaving    and     Designing    of     Textile 

Fabrics.     London  :  Simpkin,  Marshall  &  Co. 

(Chapters  on  History  of  Weaving,  Color, 

and    Combination    and    Arrangement    of 

Designs.) 

BATES,  Lois.  Kindergarten  Guide.  New  York: 
Longmans,  Green  &  Co. 

BENJAMIN,  S.  G.  W.  Persia  and  the  Persians. 
Boston  :  Houghton,  Mifflin  &  Co. 

BIRDWOOD,  SIR  GEORGE.  Industrial  Arts  of 
India.  London  :  Chapman  &  Hall. 

BISHOP,  MRS.  I.  B.  Journeys  in  Persia  and 
Kurdistan.  New  York  :  G.  P.  Putnam's  Sons. 

CAINE,  WILLIAM  S.  Picturesque  India.  New 
York  :  George  Rout  ledge  &  Sons. 


152 


HAND-LOOM    WE  A  VING 


COLLINS,  TREACHOR  E.  In  the  Kingdom  of  the 
Shah.  London :  T.  Fisher  Unwin. 

DAVIE,  OLIVER.  Nests  and  Eggs  of  North 
American  Birds.  Columbus,  Ohio  :  The  Lan- 
don  Press. 

DELLENBAUGH,  FREDERICK  S.  North  Americans 
of  Yesterday.  New  York:  G.  P.  Putnam  s 
Sons. 

DIXON,    CHARLES.      Curiosities    in    Bird    Life. 
London  :  George  Redway  &  Son. 
—    Curious   Nests.      London :    George   Red- 
way  &  Son. 

DUGMORE,  A.  RADCLYFFE.  Bird  Homes.  New 
York :  Double  day,  Page  &  Co. 

EARLE,  ALICE  MORSE.  Home  Life  in  Colonial 
Days.  New  York:  The  Macmillan  Co. 

FIRTH,  ANNIE.  Cane  Basket  Work.  London: 
L.  Upcott  Gill.  1899.  New  York:  Charles 
Scribner's  Sons. 

GRINNELL,  GEORGE  BIRD.  Indians  of  To-day. 
New  York :  D.  Appleton  &  Co. 

Story   of   the   Indian.     New   York:    D. 

Appleton  &  Co. 

GURDJI,  V.  Oriental  Rug  Weaving.  New 
York  :  F.  Tennyson  Neely  Co. 

HERRICK,  FRANCIS  HOBART.  The  Home  Life 
of  the  Wild  Birds.  New  York:  G.  P.  Put- 
nam's Sons. 

HOLT,  ROSA  BELLE.  Rugs :  Oriental  and  Occi- 
dental. Chicago:  A.  C.  McClurg  &  Co. 

How  TO  MAKE  and  How  to  Mend.  (Directions 
for  dyeing.)  New  York :  The  Macmillan  Co. 

HUMMEL,  PROF.  The  Dyeing  of  Textile  Fabrics. 
New  York :  Cassell  &  Co. 


BOOKS  AND  MAGAZINE  ARTICLES 


JAMES,  GEORGE  WHARTON.  Indian  Basketry. 
New  York :  Henry  Malkan.  1902. 

KNAPP,  ELIZABETH  S.  Raphia  and  Reed  Weav- 
ing. Springfield,  Mass.:  Milton  Bradley  Co. 

KRAUS-BOELTE,  MME.  Kindergarten  Guide. 
(Occupations.)  New  York:  Steiger  &  Co. 

MASON,  O.  T.  Woman's  Share  in  Primitive 
Culture.  New  York :  D.  Appleton  &  Co. 

MORRIS,  WILLIAM.  Some  Hints  on  Pattern  De- 
signing. New  York :  Longmans,  Green  &  Co. 

MUMFORD,  J.  K.  Oriental  Rugs.  New  York: 
Charles  Scribner's  Sons. 

SEEGMILLER,  WILHELMINA.  Primary  Hand 
Work.  Boston,  New  York,  Chicago,  Dallas: 
Atkinson,  Mentzer  &  Co. 

SHELDON,  WILLIAM  E.,  and  others.  Illustrated 
Lessons  with  Paper  Folding.  Springfield, 
Mass.:  Milton  Bradley  Co. 

TINSLEY,  LAURA  F.  Practical  and  Artistic 
Basketry.  New  York:  Kellogg. 

WALKER,  LOUISA.  Varied  Occupations  in 
String  Work  ;  comprising  Knotting,  Netting, 
Looping,  Plating,  and  Macreme.  New  York  : 
The  Mac  mi  I  Ian  Co. 

Varied  Occupations  in  Weaving.  New 

York :  The  Macmillan  Co. 

WHEELER,  MRS.  CANDACE.  Home  Industries 
and  Domestic  Weavings.  New  York  :  Asso- 
ciated Artists,  7/5  East  2jd  Street. 

WHITE,  MARY.  How  to  Make  Baskets.  New 
York:  Doubleday,  Page  &  Co.  1902. 

W  i  E  B  E,  EDWARD.  Paradise  of  Childhood. 
Springfield,  Mass.:  Milton  Bradley  Co. 


HAND-LOOM  WEAVING 


WIGGIN,  KATE  DOUGLAS  (Mrs.  George  C.  Riggs). 
Republic  of  Childhood  (Occupations).  Bos- 
ton: H ought  on,  Mifflin  6°  Co. 

WORST,  EDWARD  F.  Construction  Work.  Chi- 
cago: A.  W.  Mumford.  1901. 

FINE    ART    BOOKS 

The  following  books  can  be  found  in  the  Fine 
Art  Collections  in  some  public  libraries.     They 
contain  beautiful  illustrations  of  oriental  rugs 
and  carpets  which  are  helpful  in  the  study  of 
design  and  of  harmony  in  color  : 
BURTY,  P.     Masterpieces  of  Industrial  Art. 
COXON,  HERBERT.     Oriental  Carpets. 
LESSING,  JULIUS.     Ancient  Oriental  Carpet  Pat- 
terns. 

ROBINSON,  VINCENT  J.     Eastern  Carpets. 
VIENNA    IMPERIAL   AND  ROYAL  AUSTRIAN  MU- 
SEUM.    Oriental  Carpets. 

MAGAZINE    ARTICLES 

A  PROFITABLE  PHILANTHROPY,  by  Mrs.  Helen 
R.  Albee.  Review  of  Reviews,  July,  1900. 

ART  OF  THE  AMERICAN  INDIAN.  Cliautauquan, 
March,  1899. 

A  STUDY  OF  THE  TEXTILE  ART,  by  Wm.  H. 
Holmes.  Sixth  Annual  Report,  Bureau  oj 
Ethnology,  Washington,  D.  C.  (pp.  84,  85.) 

DOMESTIC  ART  NUMBER.  Pratt  Institute 
Monthly,  February,  1901. 

HOME  INDUSTRIES  AND  DOMESTIC  MANUFAC- 
TURES, by  Mrs.  Candace  Wheeler.  The  Out- 
look, Oct.  / 


BOOKS  AND  MAGAZINE  ARTICLES 


INDUSTRIAL  CLASSES  IN  SETTLEMENT  WORK,  by 
George  W.  R.  Twose.  Pratt  Institute  Month- 
ly, November,  1898. 

INDUSTRIAL  EDUCATION  AS  A  SOCIAL  FORCE,  by 
H.  W.  Stebbins.  Educational  Review,  May, 


JUVENILE  PORTIERE  MAKERS.  New  York  Tribune, 
New  York  City,  March  10,  1901.  Reprinted 
in  Minneapolis  Journal  Junior,  April  20,  1901, 
Minneapolis,  Minn. 

LEAF  CUTTING  (for  rug  designs).  Pratt  Insti- 
tute Monthly,  April,  1900. 

MRS.  VOLK  AND  HER  WORK.  Good  Housekeep- 
ing, September,  1901. 

NAVAJO   WEAVERS,   by   Dr.   Washington    Mat- 
thews.    Third  Annual  Report  of  Bureau  of 
EtJinology,   Washington,  D.  C. 
(Contains  fine  illustrations  of  blankets,  etc.) 

NEW  ENGLAND  RUGS.  Minneapolis  Journal, 
Minneapolis,  Minn.,  March  28,  iqoo. 

ON  THE  DESIGNING  AND  M!KING  OF  CARPETS,  by 
F.  J.  Mayer.  The  Artist,  July  and  August, 
i899. 

PREHISTORIC  TEXTILE  ART  OF  EASTERN  UNITED 
STATES,  by  Wm.  H.  Holmes.  Thirteenth 
A  nnual  Report  of  Bureau  of  Ethnology,  Wash- 
ington, D.  C.  (pp.  91,92.) 

SOME  SOCIAL  ASPECTS  OF  EDUCATION,  by  G.  Stan- 
ley Hall.  Educational  Review,  May,  1902. 

STRAW  WEAVING.  Amercian  Homes,  Knoxville, 
Tenn.,  September,  1900. 


156 


HAND-LOOM  WEAVING 


Teachers'    College  Record.     Teachers'    College, 

Columbia  University,  New  York. 

(Contains  articles  on  weaving.) 
TEXTILE   INDUSTRIES   OF   THE  UNITED   STATES. 

Chautauquan,  March,  1899. 

TEXTILE  INDUSTRY  SINCE  1890.  Forum,  May, 
i899. 

TEXTILES,  OLD  AND  NEW.  The  Craftsman,  The 
United  Crafts,  Eastwood,  N.  Y.,  January, 
1902. 

(Contains   "Notes   from   the   History  of 
Textiles,"  "A   Revival  of  English  Handi- 
crafts," and  "Brain  and  Hand.") 
The  Elementary  School  Record,   by   Dr.  John 
Dewey.     Numbers  i  to  9.     The  University  of 
Chicago  Press,  1900. 

(Contains  articles  on  weaving  and  a  rec.- 
ord  of  industrial  work  done  in  the  Univer- 
sity Elementary  School,  University  of  Chi- 
cago.) 

THE  LABOR  MUSEUM  AT  HULL  HOUSE,  by  Jessie 
Ltither.  The  Commons,  Hull  House,  Chicago, 
Vol.  VIL,  No.  70,  May,  1902. 

(Contains  illustrations  of  old  looms,  and 
the  methods  of  spinning  and  weaving.) 
WEAVERS  OF  THE  PHILIPPINES,  by  G.  E.  Walsh, 

The  Catholic  World,  March,  1902. 
WHAT  is  BEING  DONE  IN  TEXTILE  EDUCATION. 
CJiautauquan,  August,  ipoo. 
Many  topics  interesting  to  teachers  of  indus- 
trial  work   are   dealt  with  in   the  instruction 
papers    of    the   International    Correspondence 
Schools,  Textile  department.     Address  commu- 
nications to  Christopher  P.  Brooks,  New  Bed- 
ford, Mass. 


HAMMOCKS 


157 


Hammocks 

woven  on 

Perfection 

Loom 


15* 


HAND-LOOM  WEAVING 


Rugs 

woven 

on 

Perfection 
Loom 


Borders 

for  rugs  or 

squares 


'.".V, 


THE  INDEX 


I5Q 


"Abnakee  Rug  Industry,"  59  fi. 
Accuracy,  weaving  develops,  22. 
Acids,  used  in  dyeing.  65,  70  ff. 
Action,  relation  to  ideas,  8. 
Afghans,  weaving  of,  48,  51,  117. 
Albee,  Mrs.  Helen  R.,  59,  60  ff. 
Angora  wool,  53. 
Aniline  dyes,  69. 

Ashenhurst,  quotations  from,  13,  14,  16. 
Axminster  rugs,   128-129,   130,   131. 

Baby  shoes,  113. 
Balls,  worsted,   113. 
Basketry,  preparation  for,  23,  24. 
Bates,  Lois,  23,  31,  142. 
Batten,  the,  Hindoo  and  Egyptian,  15. 
Bed  shoes,   111-112. 
Bed  spreads,  52,  107. 
Blankets,  51;  carriage,  107. 
Blue  dye,  55-56;  wool  carded,  58. 
Bokhara  rugs,  61,  120,  121,  126,  128. 
Bookmark,  36,  37. 

Borders,  43,  86-88,  125-126,  130,  131, 
132. 

Candle-wicking,  50,  79-80. 
Cap,  108,  109. 
Carding,  58, 

Carpet  ravelings,  see  Ravelings. 
Carpet  yarn,  88,  89. 
Carriage  blankets,   107. 
Celluloid  strips,  81,  114. 
Chatelaine  bags,   115. 
Cheese  cloth,  49-50,  54  ff. 
Chenille,  48;  splicing  of,  79-81. 
Chinese,  weaving  practiced  by,  13. 
lavigero,  on  weaving  in  Mexico,   14. 
ouding,   59. 
les,  C.  S.,  24. 

•lors,  58,60-61,  134-136;  color  scheme, 
62;  shading,  63-64:  see  also  Dyes, 
Formulas,  and  names  of  colors, 
"centration,   weaving   develops,    22. 
-ersation  in  class  room,  145. 
eras,  56. 

jn,  darning,  51,  106;  knitting,  52. 
ed,  the,  7;  disregarded,  7-8. 
.shions,  50,  117,  128. 

Demonstration  cards,  31. 

Designing,  weaving  prepares  for,  23,  25. 

Designs,  27,  31,  33,  35,  53,  84,  89,  107, 

120,  I2i,  123,  130-132. 
Dexterity,  weaving  develops,  22,  24. 


Discouragement,  Froebel's  theory,  17. 
Dish  cloths,  49. 

Doll's  shawl  and  skirt,  107-108. 
Doll's  towels,  51-52,   106-107. 
Dyeing,   14,  54-78;  formulas,  69. 
Dyes,  kinds  of,  54,  56,  57,  68,  69,  72,  73; 
see  also  names  of  colors. 

Egyptians,  inventors  of  the  loom,  14. 

Face  cloths,  49,  50. 

Felt  mats,  23,  30-32. 

Finger  Play,   141. 

Floor  rugs,  weaving  of,  89-91. 

Formulas  for  colors,  69  ff. 

Frames,  photograph  and  picture,   114. 

Free-paper   weaving,   35-36. 

Fringe,   109-111. 

Froebel,  Friedrich,  10,  17. 

Games,  141-150;  list  of,  146  ff. 
Germantown  wool,  51,  80,  107,  108,  112, 

114. 
Gifts,  made  by  children,  21,  34,  37,  51, 

in. 

Glauber  salts,  64,  65,  67,  70  ff. 
Glove  boxes,   104. 
Grass  twine,  53. 
Gray,  wool  carded,  58-59. 
Green  dye,  56;  dull  shade,  56. 

Hair  receivers,  118. 

Hammock  Loom  Board,  93,  95. 

Hammocks,  93-101. 

Hand-training  in  kindergarten,  10,  22. 

Hindoo  loom,  15-16. 

Holders,  91,  92. 

Hurwitz,  Professor,  13. 

Indian  dyes,  54. 
Indian  loom,   133,  135. 
Individual,  the,  training  of,  28. 
Industrial  training,  n,  28-29. 
Ink  stains,  57. 
Iron  rust,  57. 

"Jacob's  ladder,"  40. 
Jute,  49. 

Kerman  rugs,  120. 

Khiva  rugs,   120,   121,  123,  126,  128. 
Kindergarten,   hand-training  in,    10. 
"Kindergarten  Guides,"  23,  31,  34,  142. 
Kiz-Kilim  rugs,  45,  120,  121-124. 


i6o 


HAND-LOOM    WE  A  VING 


Knotting  fringe,  in. 
Kraus-Boelte,   Mme.,   25. 
"Kraus-Boelte   Guide,"   25. 
Kurdji,  V.,  120. 

Leaf  stains,  57. 

Leather   strips,   81. 

Linings,  50. 

Loom,  The,  13-21. 

Loom,    The    Todd    Adjustable    Hand, 

see  Todd. 
Lunch  cloths,  52,  107. 

Macreme  cord,  52;  splicing  of,  79-80. 

Making,  instinct  for,  9. 

Manual  training,  10. 

Materials,  10,  48-53. 

Mats,  see  Felt,  Paper,  and  Table. 

Matthews,  Dr.  W.,  54,  134,  136,  138. 

Measuring  glass,  64-65. 

Mill,  John  Stuart,  8. 

Mitten,  40. 

Mordants,  64. 

Mottled  rugs  and  borders,  88. 

Mumford,  John  Kimberley,  123. 

Navajo  blankets,  133-140. 

Needle,  used  with  loom,  20,  21,  87,  91. 

Nut  stains,  56-57. 

Opera-glass  bags,  116. 

Oriental  rugs,  weaving  of,   119-126. 

"Oriental  Rugs,"  123. 

"Oriental  Rug  Weaving,"  120. 

Panels,  of  silk  canvas,  116. 

Paper  mats,  23,  27,  34  ff. 

"Paradise  of  Childhood,"  35. 

Patterns,  see  Designs. 

Pencil  holder,  38. 

Persian  rugs,  designs  for,   120,  130. 

Photograph  and  picture  frames,   114. 

Pile  weaving,  127-128. 

Pillow  Loom,   19. 

Pink,  wool  carded,  58. 

Porch  curtains,   104. 

Portieres,  118. 

Poulsson,  Miss,  141,  144. 

Practical  training,  need  of,  10. 

Principles,  value  of  learning,  23. 

Public  schools,  practical  training  in,  10, 

18,   26-27. 
Purses,  115-116. 
"Pussy-cat  stairs,"  40. 

Quilts,  107. 

Raffia,  45,  52,  54  ff.,  67,  80-81. 

Raffia  mats,  method  of  weaving,   102- 

104. 

Ravelings,  79,  81. 
Red  dye,  56. 
Reins,  108. 


"Republic  of  Childhood,"   34,  143. 
Rope  silk,  50-51,  116;  splicing  of,  80. 
Ropetine,  50,  115. 

Sachet  cases,  117. 

Scarf,  114. 

School  bags,  116. 

Scientific  facts  as  applied  in  schools,  8. 

Sequence  weaving,  35  ff. 

Serebend  rugs,   120. 

Shawls,    107-108. 

Shoes,  bed,  111-112;  baby,  113. 

Shopping  bags,   116. 

Shuttle,  Egyptian,   15;  Hindoo,  15. 

Silk,  52;  knitting,  115,  116. 

Silk  canvas,  115,  117. 

Silkoline,  49;  for  rugs  or  mats,  88. 

Skirt,  doll's,  108. 

Slats,  weaving  with,  23-24,  30-32. 

Sleeve  protectors,   115. 

Slumber  robes,  51,  117,  118. 

Socks,  111-113. 

Sofa  pillows,  117. 

Songs,    games,    and    stories,    141-150, 

146  ff. 

Splicing,  methods  of,  79-81. 
Splints,  weaving  with,  23-24,  39. 
Star,  37. 

Steiger,  E.,  publisher,  35. 
Stories,  141-150;  list  of,  146  ff. 
"Straw  Weaving,"   105. 
Success,  Froebel's  theory,  17. 
Sweater,  doll's,  41. 

Table  covers,  52. 

Table  mats,  38,  87,  114. 

Table  runner,  50. 

Tarn  O'Shanter,  53,   108. 

Tassels,   no. 

Tippet,    114. 

Todd  Adjustable   Hand  Looms,  18-21. 

Towels,  doll's,  51,   106-107. 

Turkish  rugs,  designs  for,   122,   125. 

Vegetable  dyes,  54,  57,  69. 
Vegetable  fibres,  for  weaving,  13,  14. 
Veil  cases,  117. 

Walker  and  Jenks,  song  by,  142-143. 

Warp,  19,  42-47. 

Weaving,  its  advantages,  u,  22;  old- 
est of  the  industrial  arts,  12,  13,  14; 
defined,  22 ;  first  steps  in,  23,  30-41 ; 
free  paper,  35. 

Wheeler,  Mrs.  Candace,  54. 

Wiebe,  Edward,  35- 

Wiggin,  Mrs.  Kate  Douglas,  34,  143. 

Wilton  rugs,  127,  128,  129. 

Woof,  33,  42. 

Wool,  for  weaving,  13,  14,  51,  53,  58  ff. 

Worsted,  splicing  of,  79. 

Wristlets,  114,  115. 


14  DAY  USE 

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